Part 29

1st figure.--Two first ladies and vis-à-vis gentlemen begin at the same moment, and go through the figure as in Single Lancers. All balancez to corners; in other words, each lady sets to gentleman at her right, who turns her to her place. Second couples and sides repeat as usual.

2nd Figure.--First couples advance, retreat, advance again, leaving ladies in centre; set to partners and turn to places. Two side couples nearest first couples join them; two side couples nearest second couples do the same, thus forming eight in each line. They all advance and retreat, holding hands, then turn partners to places. Repeated by second and side couples as usual.

3rd Figure.--First ladies advance and stop; vis-à-vis gentlemen ditto; courtesy profoundly, bow, and back to places. Ladies do the moulinet, gentlemen go round outside, and back to places. Or, ladies advance and courtesy to each other and then to partners; gentlemen, doing the same when the second and fourth couples begin the figure, as in Single Lancers.

4th Figure.--First couples advance to couples on their right; bow and courtesy; cross to opposite side, bow and courtesy, chassez croisez, and return to places. Right and left to opposite places, and back again. Second couples and sides repeat figure.

5th Figure.--Grande chaine all round, pausing at the end of every eight bars to bow and courtesy; continue chaine back to places, which will occupy altogether thirty-two bars of the music. Figure almost the same as in Single Lancers. Both first couples lead round, side couples falling in behind, thus forming four sets of lines. Figure repeated by second and side couples; grande chaine between each figure and at the conclusion.

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VIII.--COULON'S DOUBLE QUADRILLE.

This quadrille contains the same figures as the common quadrille, but so arranged that they are danced by four instead of two couples. All quadrille music suits it; and it occupies just half the time of the old quadrille. It makes an agreeable variety in the movements of the dance, and is easily learnt. It requires four couples.

First Figure.--Pantalon.

First and second couples right and left, whilst side couples dance the chaine Anglaise outside them. All four couples set to partners and turn them. Four ladies form ladies' chain, or hands across in the middle of the figure, giving first right hands, and then left, back to places. Half promenade, first and second couples do chaine Anglaise, while side couples do grand chaine round them. This leaves all in their right places, and ends figure.

Second Figure.--L'Eté

First lady, and lady on her right hand, perform the figure with their vis-à-vis gentlemen, as in common L'Eté; taking care, when they cross, to make a semicircle to the left. Second couple and second side couple repeat figure, as in common. L'Eté.

Third Figure.--La Poule.

Top lady and vis-à-vis gentleman, lady at her right, and her opposite gentleman, perform figure at the same time, setting to each other in two cross lines. Other couples follow as usual.

Fourth Figure.--La Pastorale.

The first and opposite couples dance the figure, not with each other, but with the couples to their right. The latter do the same with first and second couples.

Fifth Figure.--Finale.

Galopade all round. Top and opposite couples galopade forwards, and retreat. As they retreat side couples advance; and, as they retreat in their turn, first and second couples galopade to each others place. Side couples the same. First and second couples advance again; side couples the same as the others retreat; first and second back to places as side couples retreat. Side couples back to places. Double chaine des dames, and galopade all round. Then side couples repeat figure as usual, and galop all round in conclusion.

It is requisite to keep correct time and step in this quadrille, which would otherwise become much confused.

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IX.--THE POLKA.

The origin of this once celebrated dance is difficult to ascertain. It is believed by some to be of great antiquity, and to have been brought into Germany from the East. Others affirm that its origin is of more recent date, and its birthplace considerably nearer home. An authority on these matters remarks; "In spite of what those professors say who proclaim themselves to have learnt the Polka in Germany, or as being indebted for it to a Hungarian nobleman, we are far from placing confidence in their assertions. In our opinion Paris is its birthplace, and its true author, undoubtedly, the now far-famed Monsieur Cellarius, for whom this offspring of his genius has gained a European celebrity."

Whatever we may be inclined to believe with regard to this disputed question, there can be no doubt of the wide-spread popularity which for many years was enjoyed by the Polka. When first introduced, in 1843, it was received with enthusiasm by every capital in Europe; and it effected a complete revolution in the style of dancing which had prevailed up to that period. A brisk, lively character was imparted even to the steady-going quadrille; the old Valse à Trois Temps was pronounced insufferably "slow;" and its brilliant rival, the Valse à Deux Temps, which had been recently introduced, at once established the supremacy which it has ever since maintained. The galop, which had been until this period only an occasional dance, now assumed a prominent post in every ball-room, dividing the honours with the valse.

But all these dances, though modified in character by the introduction of the Polka, were for a time thrown into the shade by this new claimant upon public favour. Its popularity was unrivalled in the annals of dancing. Rich and poor, young and old, grave and gay, all were alike smitten by the universal Polka mania. All flocked to take lessons in this new and fascinating dance; and the professors of its mysteries fairly divided public attention with the members of the Anti-Corn-Law League, then holding their meetings at Drury Lane Theatre. We will even go so far as to say that Messrs. Bright and Cobden were scarcely more anxious to destroy the vexatious Corn Laws than were these worthy Polka-maniacs to create corn laws of their own, which, if more innocent, were equally undesirable.

For many years the Polka maintained its position as the universal favourite; but, during the last five or six seasons, its popularity has slowly but surely declined. It is never danced now in the ball-rooms of the aristocracy, but the middle classes have not yet quite discarded their old friend, though even amongst their programmes its name rarely occurs.

Perhaps no dance affords greater facilities for the display of ignorance or skill, elegance or vulgarity, than the Polka. The step is simple and easily acquired, but the method of dancing it varies ad infinitum. Some persons race and romp through the dance in a manner fatiguing to themselves and dangerous to their fellow-dancers. Others (though this is more rare) drag their partner listlessly along, with a sovereign contempt alike for the requirements of the time and the spirit of the music. Some gentlemen hold their partner so tight that she is half suffocated; others hold her so loosely that she continually slips away from them. All these extremes are equally objectionable, and defeat the graceful intention of the dance. It should be performed quietly, but with spirit, and always in strict time. The head and shoulders should be kept still, not jerked and turned at every step, as is the manner of some. The feet should glide swiftly along the floor--not hopping or jumping as if the boards were red-hot.

You should clasp your partner lightly but firmly round the waist with your right arm.

Your left hand takes her right hand; but beware of elevating your arm and hers in the air, or holding them out straight, which suggests the idea of windmills.