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A
TRANSLATION
OF NINE OF THE MOST FASHIONABLE
QUADRILLES,
CONSISTING OF
FIFTY FRENCH COUNTRY DANCES,
AS PERFORMED IN
England and Scotland.
WITH EXPLANATORY NOTES.
TO WHICH ARE PREFIXED,
A few Observations on the Style, &c. of the Quadrille, the English
Country Dance, and the Scotch Reel.
BY BARCLAY DUN,
TEACHER OF DANCING.
EDINBURGH:
PRINTED FOR THE AUTHOR,
And sold by
WILLIAM WILSON & CO. 44, GEORGE STREET; AND
ADAM BLACK, 57, SOUTH BRIDGE.
1818.
It
is with perfect submission that the Author of the following slight remarks obtrudes himself upon public notice; and he most anxiously entreats his readers to believe, that, by such publication, he is not actuated by any arrogant or silly presumption of superiority of knowledge in the art which he professes, but by a wish to induceMinuet
in the classification of dances, he thought it consistent with his duty, as a teacher of
4
To use steps fitted for the English country dance or Scotch reel to French music, would be as incompatible as speaking the French language with the Scotch or English accent.
There are, indeed, a few French country-dance tunes marked after the manner of the Strathspey; but they differ widely in their accent, and ought not to be accompanied by steps of the same kind.
There is another and most important point towards which he deems itgeneral carriage and deportment
in the dance—a thing which he is sorry to see so much neglected in his native country, as the Scotch are, almost unexceptionably, professed lovers of dancing. In hopes that a taste for French country-dances may continue in Scotland, he has translated, not only the Quadrilles that have been danced in Edinburgh, but those which have been chiefly used in London, selected by Mr. Payne, Mr. Smart, of Edinburgh, having most judiciously given an English translation of such Quadrilles as he has hitherto published, it would be superfluous to insert them here.
The Author having so far explained his motives for the present publication, he begs that those who may do him the honour to look over his production, will be more inclined to forgive than to censure.
Of
all the imitative arts, dancing is perhaps the most pleasing. It is a representation of nature in her most agreeable mood, being generally practised in gay and festive moments, and therefore is associated in the mind with joy and merriment. The amateur in sculpture, painting, or poetry, may prosecute his favourite art under the pressure of calamity and grief without incurring the censure of the most fastidious;
BLa Danse de Ville.
There is no kind of dancing so well fitted for society as the quadrille, wherein the
pas seul, pas de deux
, or dancing by individuals and couples, are occasionally introduced, which admits of breathing time, and gives an opportunity for conversation to those of the set who are disengaged—an advantage which the performers in the English country dance cannot enjoy without deranging the figures, and interrupting the performance in their progress through the dance.
By means of the
pas seul
, &c. an anxious, yet politely conducted contention for the palm of superiority is kept up by the rival dancers,smoothness
and
softness
,—in which case the dancer must glide through the figures in a waving, flowing, and graceful manner—giving that necessary accent or expression to his movements which the French music is so capable of exciting. I saw a quadrille performed by a set of very excellent dancers in the academy of M. Coulon at Paris, which brought the conviction fully upon me of the consequence of smoothing this style of dancing. They moved through the various figures like so many skaters upon a smooth yet uneven icy surface, and with so much attention to the spirit of the music, and the situation of each other, that I was quite delighted by the sight. I felt the absolute necessity of acquiring this mode of dancing, and set about it acoordingly. Under the direction
Very scrupulous attention must he paid to the
exercises
, which may be pointed out by the teacher for the purposes of gradually bending and extending the legs, that they may be brought to act independently, as it were, of the body, which the master will take care shall be properly poised at the time. The same strict heed should be given to his instructions respecting the various positions and dispositions of the head and arms, and particular notice ought to be axed upon his admonitions and examples concerning carriage and deportment.
These are points which, in many cases, in the course of my experience, I have seen totally neglected. Whether the fault may be imputed to the teachers or their pupils, it would be difficult to determine. I suspect that occasionally both are to blame. Learners are generally negligent of initial rules, which they imagine are obtruded upon their notice prematurely;perform a little at the first
, those rules and exercises might be learned effectually by and bye ! They do not consider the error into which their impatience must certainly lead them. They ardently wish to attain an end, but, unfortunately, they will not employ the requisite means. The parents of young people are frequently very culpable in this respect. They axe anxious to see their children
do something
, as they call it; and, in the middle of the teacher's endeavours towards the necessary and due formation of his scholar's limbs, &c. they will interrupt him with a demand to know when he means that they shall dance ! They do not see the young creatures
jumping up and falling down
, forsooth, neither do they hear the music going on; they only hear the master speaking a great deal about what they do not in the least understand, and what they, consequently, think it unnecessary for their children to know. I have met with this kind of interruption oftentimes, but I never gaveencouraged
, but
assisted
by some of my employers in enforcing these indispensable incipient exercises, &c. There are many dancing-masters who, from an unwillingness to
give offence
, or a spirit of accommodation arising from a certain pliancy of disposition, yield to the pressure of this sort of interference, and set their scholars a
hobbling
before they teach them to
stand
,
walk
, or consider the importance of
balancing
themselves. And I have known many others who,
of their own accord
, set their pupils a
leaping
to the music from the beginning. In either case, they do both themselves and the young people under their tuition a most serious injury.
It is no uncommon thing for teachers of dancing to boast of the proficiency of their scholars, by telling, that a certain set can
piroutte
, or whirl round upon one foot, like a whipt top,en attitude
; that some can
cut
, or twirl their legs in the air several times; and that others could have danced an immense variety of steps before they had finished their third or fourth set of lessons ! But I have remarked, with surprise, that few teachers of dancing ever told me how well any of their pupils
presented themselves before company
,
walked
, and
sat
; or
how easily
and
gracefully they managed their heads, and disposed of their arms
in the dance. Far be it from me to insinuate, that those teachers who allow or encourage that premature exhibition, of which I have spoken, are ignorant of their profession, for I know instances to the contrary; I merely made the foregoing remark to prove my assertion, that learners are apt to disregard initial rules and exercises, and that teachers sometimes fall into the same error.
As, in dancing, all positions, or attitudes, and movements, take their principle from nature, a tenacious adherence to simplicity ought to occupy the attention of the dancer. By
There are many who imagine that he is the best of dancers who can leap so high as to be able to cross his legs several times before he falls, and spring or bound to an amazing distance forward, backward, or to either side. That such a person may be the most powerful of men, I readily allow; but with no other qualifications than his strength and agility, he can never hope to obtain the suffrages of those who are skilled in the art: indeed, people of refined and delicate feeling, although they knew little or nothing of dancing, would reject his exhibitions with disgust. To be regarded, he must possess that sensibility of soul which enables its possessor to distinguish the true from the false, and to trace out the way to perfection. Having this talent, in conjunction with his nimbleness and force, he may be assured of the applause of all who witness his performance; for
“As dancing is the accomplishment most calculated to display a fine form, elegant taste,
4
“By the word exhibition, it must not be understood that I mean to insinuate any thing like that scenic exhibition which we may expect from professors of the art, who, often regardless of modesty, not only display the symmetry of their persons, but indelicately expose them, by most improper dresses and attitudes, on the public stage.
“What I propose, by calling dancing an elegant mode of showing a line form to advantage, has nothing more in it than to teach the lovely young woman to move, unembarrassed, and with peculiar grace, through the mazes of a dance, performed either in a private circle, or a public ball.
“It must always be remembered, and it cannot be too often repeated, ‘that whatever it is worth while to do, it is worth while to do
“Extraordinary as it may seem, at a period when dancing is so entirely neglected by men in general, women appear to be taking the most pains to acquire the art. Our female youth are now not satisfied with what used to be considered a
good dancing-master
, that is, one who made teaching his sole profession, but now our girls must be taught by the leading dancers at the opera-house. The consequence is, when a young lady rises to dance, we no longer see the graceful, easy step of the gentlewoman, but the laboured, and often indelicate exhibitions of the posture-mistress. Dances from
ballets
are introduced; and, instead of the jocund and beautifully organized movements of hilarity in concord, we are shocked by the most extravagant
“These
ballet
dances are, we now see, generally attempted. I say
attempted
, for not one young woman in five hundred can, from the very nature of the thing, after all her study, perform them better than could be done any day by the commonest
figurante
on the stage. We all know, that, to be a fine opera-dancer, requires unremitting practice, and a certain disciplining of the limbs, which hardly any private gentlewoman would consent to undergo. Hence, ladies can never hope to arrive at any comparison with even the poorest public professor of the art; and therefore, to attempt the extravagance of it, is as absurd as it is indelicate.
“The utmost in dancing to which a gentlewoman ought to aspire, is an agile and graceful movement of her feet, an harmonious motion with her arms, and a corresponding easy carriage of her whole body. But, when she has gained this proficiency, should she find herself so unusually mistress of the art as to be able, in any way, to rival the professors by whom she has been taught, she must ever hold in mind that
the same style of dancing is not equally proper for all kinds of dances
. For instance, the English country-dance and the French cotillion require totally different movements. I know that it is a common thing to introduce all the varieties of opera-steps into the simple figure of the former. This ill-judged fashion is inconsistent with the character of the dance, and, consequently, so destroys the effect, that no pleasure is produced to the eye of the judicious spectator by so discordant an exhibition.
“The characteristic of an English country-dance is that of
gay simplicity
. The steps
“Before I go farther on the subject, I can. not but stop a little to dwell more particularly on the necessity there is for more attention than we usually find paid to the management of the arms and general person in dancing. In looking on at a ball, perhaps you will see that every woman, in a dance of twenty couple, moves her feet with sufficient attention to beauty and elegance; but, with regard to the deportment of the rest of the person, most likely you will not discover one in a hundred who seems to know more about it than the most uncultivated damsel that ever jogged at a village wake. I cannot exactly describe what it is that we see in the carriage of our young ladies in the dance; for it is difficult to point out a want by any other expression than a negative: but it is only requisite for my readers to recal to their memory the many inanimate, ungraceful forms,
from the waist upwards
, that they nightly
The writer of this book has evinced much taste and discernment by her observations on the requisite qualities of a dancer, &c. She has evidently been well grounded in this part of her education; and her thorough acquaintance with its rules proves that she has given it most extensive attention. That simplicity which she so urgently recommends is,the art of concealing art
.
There are very few professional or public dancers who possess this happy talent entirely; hence, that astonishment which the performance of their most difficult and brilliant steps creates is generally so blended with an idea of the immense pains and toil to which the dancers we put, that we at once bestow upon them our wonder and our woe. Our unalloyed admiration is reserved for him, or her, whose steps are firm, yet flexible—whose sinkings and risings are easy, soft, and unbroken; arising from a well regulated suppleness of the legs, that gives due spring to their motion—whose body is erect, (
but not stiffly so
,) well balanced, and possessing an elastic power of rising or yielding, agreeably with the moving of the limbs—whose head is well set, and in perfect and easy equilibrium, so that its slightest motion may not disturb the unconstrained state of
Thus accomplished then, while she “floats through the mazes of the dance,” the simple, distinct, and varied motions of her feet will be accompanied by an appropriate gesticulation of the body, head, and arms, rendering the
tout ensemble
a perfect combination of all that is beauteous and lovely.
The
steps peculiar to the English country dance are of a more prompt and pointed kind than those generally used in the quadrille, and are performed upon a more contracted scale—the music of the former being much more marked and quick than that of the latter.
As it is the province of the dancer to imitate most scrupulously the accent or expression of the music, and as the English tunes are well known to possess less variety of expression and modulation than those of France, I would recommend the use of the most simple anddancing down
by those who are
figuring up
, which gives the proper effect to the whole, making the dance perfect in its kind. In mixed assemblies in Scotland, I have seldom seen the necessary attention given to the persons dancing down by those moving up. This neglect creates a confusion which makes the performance more like the representation of a
mob
than a
regular figure dance
.
I cannot but deplore the disgraceful neglect that is so apparent in most dancers with regard to the proper use of their arms, as surely this iswith every deference
, to teachers of dancing, to inculcate on the minds of their pupils the propriety, nay, the necessity, of
giving the hands
in a free and easy manner; avoiding, while they are about to join hands with each other, all affected writhings of the body and neck, and all unnecessary twirling of the wrists. These faults I have seen often carried to a perfectly ridiculous height by people who could use their legs very well. It is the fate of affectation never to escape detection and disgust.
I would recommend it likewise to have the hands given in the dance always with an air of
open frankness
and
perfect good will
, whichdistinction
, but they may depend upon it, that they will be distinguished not very much to their credit.
I have, more than once, had the gratification of beholding a few ladies and gentlemen, of the first rank in this country, conduct themselves in the dance, as well as out of it, with that cheerful and courteous benevolence which I have just now intimated—employing every means of making others as well as themselves happy—avoiding all paltry and ridiculous distinctions—embodying themselves with their company, so that their gracious condescension raised those on whom it was conferred, without lowering the bestowers.
This is genuine politeness, and springs from a good heart, and a highly improved mind: it
4
The
late Sir John Gallini, in his “Account of various kinds of Dances in different parts of the World,” observes, “It is to the Highlanders in North Britain that I am told we are indebted for a dance, in the
Comic Vein
, called the Scotch Reel, &c. When well danced, it has a very pleasing effect; and indeed nothing can be imagined more agreeable, or more lively and brilliant, than the steps in many of the Scotch dances. There is a great variety of very natural and very pleasing ones, and a composer of comic dances might, with great advantage
Another author, upon the same subject, says, “The Scotch Reel has steps appropriated to itself, and, in the dance, can never be displaced for those of France, without an absurdity too ridiculous to even imagine without laughing. There are no dancers in the world more expressive of inward hilarity and happiness than the Scotch are, when performing in their own reels. The music is sufficient (so jocund are its sounds) to set a whole company on their feet in a moment, anti to dance with all their might till it ceases, like people bit by the tarantula.”
There are two kinds of music to which the Scotch Reel is danced, viz. the Reel, property so called, and the Strathspey, which is accented in exact resemblance to the jig. There is
As I have before observed that the dancing should be in strict conformity with the music, it is necessary to accompany the Strathspey by steps of more alacrity and promptitude than those generally used in any of the dances before mentioned. There ought to be little or no genuflection used in these steps when the dancer sinks, as the rapidity of the music and dancing will not admit of much yielding or bending of the legs; in which case, the sinking steps should be chiefly performed by the motion of the ancle, and spring of the instep. It would be, therefore, advisable to dance as much as possible upon the points of the toes, by which means a complete command of the foot and ancle is acquired, and the performer
Arrangement of the Dancers in the Quadrille
.
Arrangement of the Dancers in the English Country Dance
.
Arrangement of the Dancers in the Scotch Reel
.
The
Quadrille consists of a certain number of country-dances, which contain a variety of figures; and these figures are, in general, begun by the first couple, either together or individually; the second next; then the third; and lastly the fourth, take the lead in cases of repetition.
The English country-dance is begun, generally, by the lady and gentleman at the top, together or separately; frequently by the two, and sometimes by the three couples at the head of the set.
The Scotch reel is commenced by all the performers at the same time.
D
For the direction of those who may wish to dance the quadrilles to different tunes, the quantity of bars is affixed to each part of the country-dances. It would be advisable to have the airs that may be adapted to the dances as similar as possible to those originally published, as every dance has a certain peculiarity of style, to overlook which would be ineffective.
N. B.—At the commencement of every French country-dance, one strain, or eight bars of the music, is played before the dancers begin the figures.
1
st. Right and left, fully round, by the first
and third couples,
2
d. Set to partners, and turn them,
3
d. The ladies chainThe Ladies' chain is performed by two ladies crossing over, giving the right hand to each other, and the left to the gentleman opposite, by whom they are turned; the gentlemen at the same time make two circles to the left, receiving the ladies as they come forward, and turning them fully about; the ladies then return to their respective places, giving their hands as before. When the ladies cross over, giving the hands in this manner, and do not return to their places, the figure is called the
ladies' half chain. When all the ladies cross over at once, and return to their places, giving their hands in this way, it is called the
ladies' double chain; and if they do not return to the places which they left, it is called the
ladies' half double chain.
4
th. Promenade half way round,
5
th. Half right and left to places,
The other four repeat the figures.
1
st. The first gentleman with the opposite
lady advance and retire,
2
d. Dance to the right and to the left,
3
d. Cross over, changing places,
4
th. Dance to right and left,
5
th. Cross over again, setting to partners,
6
th. Turn partners,
The other six, by successive couples, repeat the same.
1
st. A gentleman with the opposite lady
cross over, giving the right hand, and set,
2
d. Cross back again, giving the left hand,
which they retain,
3
d. They give the right hand to their partners,
and all four set, upon a line, without
quitting hands,
4
th. Promenade half way round,
5
th. The couple who began advance and retire,
6
th. They advance again, pass back to back,
and retire,
7
th. Four advance and retire,
8
th. Half right and left,
The other dancers repeat the figures.
1
st. The lady's chain,
2
d. Set to partners and turn them,
3
d. The first gentleman conducts his lady
forward and back, then leads her across,
leaves her on the left of the opposite
gentleman, and returns to his place,
4
th. The first and third ladies cross over and
change sides, cross over again and change
sides, thus making a full turn. While
they are crossing over, the first gentleman
passes between them, and whilst they
change sides, he sets to them, and goes at
last to his place,
5
th. The first couple set in the middle, then
join hands and return to their places,
The others do the same.
1
st. All the eight chassé acrossChassé across is performed by one or more couples, the ladies changing places with their gentlemen, and passing before them. It is thus distinguished from
crossing over, in which figure the persons who are
opposite each other change places
2
d. The first gentleman and opposite lady
advance and retire,
3
d. Dance to right and left,
4
th. Cross over,
5
th. Dance to right and left,
6
th. Cross over, setting to partners, and turn
them,
These figures are repeated by all the others.
Bars
1
st. The first and third couples right and
left fully round,
2
d. Set to partners and turn them,
3
d. Four advance and retire,
4
th. Four advance, pass back to back, and
retire,
5
th. The first and third couples dance into
the middle, turning to the right, and set
whom they turn, forming a line of four
on each side,
6
th
. The two lines advance and retire,
7
th
. The gentlemen take their ladies, and
turn them into their places,
The others repeat the figures.
1
st
. The first gentleman dances forward,
and stops until the third lady does the
same,
2
d
. They pass back to back, in the middle,
a full turn,
3
d
. Dance to right, giving the left hand,
and to left, giving the right,
4
th
. They make a half turn in hands to
right, and, separating, pass between the
different sides,
5
th
. Six advance and retire,
6
th. The two who began pass back to back,
and end opposite their partners,
7
th. Set to partners and turn them,
The others repeat the figures.
1
st. The ladies chain,
2
d. The first gentleman dances alone,
3
d. The opposite lady does the same,
4
th. Promenade half round,
5
th. Half right and left,
The others repeat the figures.
1
st. Four advance and set in the middle;
the gentlemen change partners and return
to their places,
2
d. The first gentleman and his partner
cross over, and dance to right and left,
3
d. They cross over again, and dance to
right and left,
4
th. Four advance and set in the middle,
5
th. The gentlemen regain their partners,
and retire,
6
th. Set to partners, and turn them,
The others repeat the figures.
1
st. The first gentleman conducts his Lady
forward twice over, and leaves her on the
left of the opposite gentleman,
2
d. Three, in hands, advance and retire
twice,
3
d. The first gentleman dances alone,
4
th. Four hands half round,
5
th. Half right and left,
The others repeat the figures.
1
st. Eight hands round, entirely, to left,
2
d. The first gentleman anti third lady advance
and retire,
3
d. Dance to right and left,
4
th. Cross over,
5
th. Dance to right and left,
6
th. Cross over, setting to partners, and turn
them,
N.B
. Before the figures are repeated here the last time, all the eight chassé across, set, and chassé across again, &c.
1
st. Right and left fully round by four,
2
d. The first gentleman dances alone,
3
d. The opposite lady does the same,
4
th. The same persons dance to right and
left,
5
th. They advance, pass back to back, and
retire,
6
th. The ladies chain,
7
th. Half promenade,
8
th. Half right and left,
The others repeat the figures.
1
st. The four Ladies do hands across in
the middle, whilst the gentlemen turn to
the right by the waltz step,
2
d. Ladies separate and set to partners,
3
d. Join partners, and waltz to respective
places.
4
th. The first gentleman and third lady advance
and retire,
5
th. Cross over by waltz step, and set,
6
th. Cross back again, setting to partners,
and turn then,
7
th. The gentlemen set to the ladies on their
left,
8
th. The gentlemen turn their own partners,
The others repeat the figures.
1
st. The first gentleman with the couple on
his left advance and retire in hands,
2
d. Three hands once round,
3
d. Three with hands joined, as in the triumph,
advance, and retire passing the
hands twice over the lady's head,
N. B. The lady makes a pirouette under
her partner's arm during the pause.
4
th. The first gentleman sets to his lady,
and turns her,
The others repeat the figures.
1
st. The grand round, by the quick waltz
step,
2
d. The first couple, with their hands joined
across, advance twice, and set in the middle
3
d. They change sides, and set, twice over,
without quitting hands,
4
th and 5
th. The third couple repeat the
two foregoing figures,
6
th. The four in the middle separate from
their partners, and set to those upon the
sides, and turn them by both hands,
7
th. All dance to right and left, giving the
left and right hands to the persons with
whom they turned; then turn them
again by the right hands,
8
th. The four who began advance and retire
twice,
After the round, the second and fourth couples repeat the figures.
1
st. The first gentleman dances alone,
2
d. The opposite lady does as much,
3
d. The first gentleman leads his lady forward
twice, and leaving her between the
third couple, returns to his place,
4
th. Three, with hands joined, as in the triumph,
advance and retire twice, and the
first gentleman takes his lady, by a turn,
to her place,
5
th. Four chassé across, set, chassé back
again, and set,
The others repeat the figures.
1
st. Mahoni's square,
2
d. Double right and left,
3
d. The first and third couples dance into
the middle, turning to the right, and set
4
th
. The two lines advance and retire,
5
th
. The gentlemen take the ladies, and turn them into their places,
The others repeat the figures.
1
st
. Right and left, fully round, by the first
and third couples,
2
d
. The first gentleman dances alone,
3
d
. The opposite lady does the same,
4
th
. The ladies chain,
5
th
. The ladies, giving the left hands to each other, and the right to their partners, form the figure of hands across, and set,
6
th
. All promenade, by the left, to their places,
The others repeat the figures.
1
st. All the eight advance and retire twice,
2
d. The first, second, third, and fourth ladies dance alternately to the time of eight bars each,
3
d. The gentlemen set to the ladies on their left,
4
th. They turn their own partners,
The figures are repeated, the gentlemen dancing the solos.
1
st. All the eight chassé across, and set at corners; and turning the persons whom they meet, chassé back again, set, and turn the persons at the other corner,
2
d. The first gentleman and third lady advance and set,
3
d. They change places,
4
th. They advance to the middle again, and set,
5
th. They change places,
6
th. The ladies chain,
7
th. Half promenade,
8
th. Half right and left,
The others repeat the figures.
For
first quadrille, see the first of the preceding set.
1
st. All the eight chassé across, and turn, at comers, to the left, in hands,
2
d. Chassé back again, and turn to the right,
3
d. Four cross over, giving the right hand, and set,
4
th. Cross over again, giving the left, and set,
5
th. Figure to the right upon the sides,
6
th. Two lines advance and retire,
7
th. The gentlemen take their ladies, and turn them to places,
The others repeat the figures.
1
st. The first lady dances alone,
2
d. The opposite gentleman does the same,
3
d. The first and third gentlemen set to their partners, and turn them,
The others repeat the figures.
1
st. The first gentleman and third lady turn to the left, and dance three hands round
2
d
. The ladies double chain,
3
d
. Four chassé across, and cross over,
4
th
. They do the same, which brings them to their places,
5
th
. Half promenade,
6
th
. Half right and left,
The others repeat the figures.
1
st
. The first couple, with the lady on their left, advance twice, and dance, three hands half round, to left and then to right,
2
d
. Les tiroisLes tirois, but move properly
tiroirs is equivalent to what is called in English dances
The Draw. It is performed by two couples, who change places, the one leading through, or passing between the other, anti
vice versa.
3
d
. Four advance and pass, back to back, to their places,
4
th. Half right and left,
5
th. Four advance and pass, back to back, &c.
6
th. Half right and left to their places,
The others repeat the figures.
1
st. The grand round,
2
d. The gentlemen set to the ladies on their left,
3
d. They set to their partners,
4
th. The first and third couples right and left fully round,
5
th. They chassé across, and cross over,
6
th. Four hands half round to places,
The others repeat the figures.
N. B.
At the end the grand round.
1
st. All the eight half promenade and set,
2
d. They continue the promenade, and set in their places,
3
d. The ladies double chain,
4
th. The first and third couples half right and left,
5
th. The second and fourth do the same,
6
th. The first and third repeat half right and left,
7
th. The second and fourth do the same,
8
th. The first and third couples, turning to left, set to the second and fourth, with whom they dance to corners and turn, forming two lines of four in each,
9
th. The two lines advance and retire,
10
th. The gentlemen take their ladies, and turn them to their places,
The others repeat the figures.
1
st. Four chassé across and set,
2
d. The same figure repeated,
3
d. Whilst the Ladies dance four hands round, the gentlemen go round separately in the opposite direction,
4
th. Set to partners and turn them, by the whole set,
5
th. Double right and left,
The others repeat the figures.
1
st. The gentleman dances alone,
2
d. The opposite lady does the same,
3
d. The first and third couples four hands half round,
4
th. Half right and left,
The others repeat the figures.
1
st. The ladies do hands across quite round to right,
2
d. They give the left hand to each other, and the right to their partners, and set in the figure of cross hands,
5
d. They separate, and promenade with partners to their places,
4
th. Four set and half promenade,
5
th. They chassé across, and cross over,
6
th. They turn their partners,
The others repeat the figures.
1
st. The little square,
2
d. The eight chassé across, and set at corners,
3
d. The same back again,
4
th. The dance of
La Trenise from the third figure,
5
th. Set to partners, and turn them,
The others repeat the figures.
1
st. Right and left quite round by four,
2
d. The first gentleman dances alone,
3
d. The opposite lady does the same,
4
th. The ladies chain,
5
th. Set to partners, and turn them,
The others repeat the figures.
1
st. The full promenade by eight,
2
d. The ladies chain,
3
d. The first anti third gentlemen cross
over,
4
th. Their partners do the same,
5
th. The four advance and retire,
6
th. Half right and left,
The others repeat the figures.
N. B.
Finish with the full promenade by eight.
1
st. The grand square,
2
d. The ladies double chain,
3
d. The first and third ladies cross over,
4
th. Their partners do the same,
5
th. Four advance and retire,
6
th. Half promenade to places,
The others repeat the figures.
1
st. The first gentleman and third lady go
to right, dance right and left with the
second and fourth couples, and return
to their places,
2
d. They go to the left and perform the
same figure,
3
d. Set forward to partners, and turn them,
The others repeat the figures.
1
st. Four cross over, giving the right hand,
and set,
2
d. They cross over again, giving the left
hand, and set,
3
d. Les tirois four times over,
4
th. The ladies chain,
5
th. Four hands half round,
6
th. Half right and left,
The others repeat the figures.
1
st. The gentlemen set to the ladies on their
left, and then to their own partners,
2
d. All ehasse, and piroutte to right and
left,
3
d. The first and third ladies go to the right
anti set; then dance three hands round,
4
th. They go to the right again and set;
dance three hands round with the gentlemen,
5
th. Four advance and retire,
6
th The gentlemen take their partners and
turn them,
The others repeat the figures.
1
st. All the eight right and left quite
round,
2
d. Four chasse across, and cross over,
3
d. The same figure repeated,
4
th. The first and third couples turn to
right, and set opposite the second and
fourth, with whom they dance to corners,
and turn into two lines of four each,
5
th. The two lines advance and retire,
6
th. The gentlemen take their partners and
turn them,
The others repeat the figures.
For the figures of
La Nouvelle Pastorale, see La Pastorale
,
1
st. All the eight chasse fully round, the
ladies to the left, and the gentlemen to
the right on the outside,
2
d. The first and third gentleman go to the
left, dance right and left with the side
couples, and go to their places,
3
d The ladies do hands across half round,
and the opposite gentlemen turn them,
4
th. They continue hands across, and are
turned by their partners,
The others repeat the figures.
1
st. The first couple, with the lady on their
left, advance and retire twice over,
2
d. They set, and the ladies make a pirouette
Allemand,
3
d
. Three hands half round to left,
4
th
. Three hands half round to right, and
go to places,
The others repeat the figures.
1
st
. The first and third couples form the
figure of hands across, set, and return to
their places,
2
d
. The four others do the same,
3
d
. All the eight promenade half round,
and piroutte,
4
th
. The first and third couples advance
and retire, and half right and left,
5
th
. The others do the same,
The others repeat the figures.
1
st
. The four ladies set to the gentlemen on
hands,
2
d
, 3
d
, and 4
th
. This figure is repeated
with all the gentlemen, until the ladies
arrive at their places,
5
th
. Double right and left,
These figures are repeated by the gentlemen.
For the figures of
La Vivacité
, see p. 48.
1
st
. All the eight chasse across and back
again,
2
d
. The first gentleman and third lady advance
and retire,
3
d
. Dance to right and left,
4
th
. Cross over,
5
th
. Dance to right and left,
6
th
. Cross over, setting to partners, and turn
them,
7
th
. The first and third couples go to right,
and set to the side couples, with whom
lines of four each,
8
th
. The two lines advance and retire; then
the gentlemen take their partners and
turn them,
The others repeat the figures, and finish
with chassé across.
1
st
. The ladies, giving the right hands,
dance hands across quite round, and
the gentlemen make a full turn the contrap
way, outside,
2
d
. Four advance and set,
3
d
. Dance round, and cross over, giving the
left hand,
4
th
. Four advance and set,
5
th.Dance round, and cross over to places,
The others repeat the figures.
1
st. The four ladies dance to the right, and
make a half turn with the gentlemen,
whom they join,
2
d. They go to the right again, and make a
half turn with the next gentleman on the
right,
3
d. They dance four hands half round, and
are turned into their places by their partners,
The others repeat the figures.
1
st. All the eight join hands, and set in a
circle,
2
d. They make a half promenade round,
3
d. They set, forming a circle, again,
4
th. They make a half promenade round,
5
th. The ladies dance hands across half
round, and, giving the left hand to the
opposite gentleman, set in the figure of
hands across,
6
th. They change hands, go round the contrary
way, and, giving the right hand to
their partners, are turned to their places,
The others repeat the figures.
1
st. The first and third couples change
sides,
2
d. The same back again,
3
d. The four ladies dance forward, pirouette,
and dance back again,
4
th. The gentlemen repeat the same,
5
th. The first and third couples turn to
right and dance half right and left with
the second and fourth,
6
th. Dance out to corners, and half right
and left at both ends of the room,
7
th. All the eight advance and retire,
8
th. The gentlemen turn their partners to
their places,
The others repeat the figures.
1
st, The ladies and gentlemen separating,
dance out to corners, and set,
2
d. They dance to their places again, and
set,
3
d. The first and third couples advance
and retire,
4
th. Dance to right and left,
5
th. Cross over,
6
th. Dance to right and left,
7
th. Cross over again, and turn partners,
The others repeat the figures.
1
st. Four advance, and the gentlemen
change ladies,
2
d. Half right and left,
3
d. Four advance, and the gentlemen retake
their ladies,
4
th. Half right and left,
5
th. All the eight hands across halt round,
the ladies inside, and set,
6
th. The gentlemen go inside, and all
the eight do hands across back again,
7
th. Four advance and set,
8
th. Dance round and cross over, giving the
left hand,
9
th. Four advance and set,
10
th. Dance round, and cross over to their
places,
The others repeat the figures.
FINIS,