Part 36

La Tempête was brought over to this country from Paris some years ago. It speedily became a favourite, and for several seasons was much danced in London and the provinces. It unites the cheerfulness of the quadrille with the sociability of the country dance; and when its lively figures are correctly performed, it is both amusing and animated.

It is divided into parties of four couples, like the quadrille; but their arrangement is different. Two couples stand side by side, facing their respective vis-à-vis; there are not any side couples. As many sets of four couples can be thus arranged as the room will accommodate. Each new set turns its back upon the second line of the preceding set. Thus the dance can be the whole length of the room, but is only the breadth of two couples. The figure is as follows:--

Place two couples side by side, the lady standing at the right hand of the gentleman. Place two other couples as their vis-à-vis. Next place two couples with their backs turned to the first set; two couples opposite them for their vis-à-vis; and continue arranging more sets of four couples according to the number of the dancers and the size of the room.

First part.--All the couples begin at the same moment, by advancing and retreating twice, with joined hands. First couples (that is, all whose backs are turned to the top of the room) cross, with hands joined, to the places of their vis-à-vis. The latter cross at the same time, but, separating, pass outside top couples to the top, where they join hands, return to own places, and back again to the top without separating; the top couples crossing separately at the same time outside the second couples. Top couples then join hands, and all return to their own places, second couples separating to allow the others to pass between them.

Lady and gentleman in the centre of each line join hands, giving their disengaged hands to their two vis-à-vis. All four half round to the left, then half round back again to places. Meantime, the outside lady and gentleman perform the same with their respective vis-à-vis, making a circle of two instead of four. Circle of four give hands across round; change hands; round once more, and back to places. Outside couples perform same figure in twos. All the sets perform the figure at the same moment.

Second part.--All advance, retreat, and advance again; all the top couples passing the second couples into the next line, where they re-commence the same figure, their former vis-à-vis having passed to the top, and turned round to wait for a fresh vis-à-vis; gentleman always keeping lady at his right hand. An entire change of places is thus effected, which is continued throughout this figure, until all the top lines have passed to the bottom, the bottom lines at the same time passing to the top; and then turning round, all go back again by the same method reversed, till all have regained their original places. The dance may terminate here, or the last figure may be repeated, at pleasure. When the first exchange of vis-à-vis takes place, the new lines at the top and bottom find themselves for a moment without a vis-à-vis; but, at the next move forward, they are provided, and can continue the figure as above described. We extract from a contemporary the following graceful variation in the first half of this dance:--"All advance and retire twice (hands joined). All vis-à-vis couples chassez croisez en double, each gentleman retaining his partner's left hand; eight galop steps (four bars); déchassez eight steps (four steps), the couple on the right of the top line passing in front of the couple on the left the first time, returning to place, passing behind. Thus, two couples are moving to the right, and two to the left. This is repeated. The vis-à-vis couples do likewise at the same time. This of course applies to all the couples, as all commence at the same time."

La Tempête is danced to quick music, in 2/4 time. The steps are the same as in quadrilles; varied sometimes by the introduction of the galop step, when the couples cross to each others' places or advance into the lines of the next set.

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XXIV.--SIR ROGER DE COVERLEY.

We conclude our account of the dances now most in vogue with an old-fashioned favourite, whose popularity dates from a bygone age, and bids fair to survive the present one. Long may its cheerful rustic strains be heard in our ball-rooms, and prove we have not grown too fine or too foolish to take pleasure in the simple dances of our ancestors. Sir Roger de Coverley is always introduced at the end of the evening; and no dance could be so well fitted to send the guests home in good humour with each other and with their hosts. We describe it as it is danced in the present day, slightly modernised to suit the taste of our time. Like the quadrille, it can be danced with equal propriety by old or young; and is so easy, that the most inexperienced dancer may fearlessly venture to take part in it.

Form in two parallel lines; ladies on the left, gentlemen on the right, facing their partners. All advance; retreat (which occupies the first four bars); cross to opposite places (four bars more); advance and retreat (four bars); re-cross to places (four bars).

The lady who stands at the top, and the gentleman who stands at the bottom, of each line, advance towards each other, courtesy and bow, and retire to places. The gentleman at the top and the lady at the bottom do the same. Lady at top and gentleman at bottom advance again, give right hands, and swing quickly round each other back to places. Gentleman at top and lady at bottom do the same. Top lady advances, gives right hand to partner opposite, and passes behind the two gentlemen standing next to him. Then through the line and across it, giving left hand to partner, who meets her half way between the two lines, having in the meantime passed behind the two ladies who stood next his partner. Lady then passes behind the two ladies next lowest; gentleman at same time behind the two gentlemen next lowest; and so on all down the line. At the bottom, lady gives left hand to her partner, and they promenade back to places at the top of the line. (This figure is frequently omitted.) Top couple advance, courtesy and bow, then lady turns off to the right, gentleman to the left, each followed by the rest of her or his line. Top couple meet at the bottom of figure, join hands, and, raising their arms, let all the other couples pass under them towards the top of the line, till all reach their own places, except the top, who have now become the bottom couple. Figure is repeated from the beginning, until the top couple have once more worked their way back to their original places at the top of the line.

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Glossary

Throughout the Ball-room Guide we have endeavoured to avoid as much as possible the rise of French words, and to give our directions in the plain mother tongue. Nevertheless there must always be certain technical terms, such as chassez croisez, glissade, &c., &c., for which it would be difficult to find good English equivalents. We therefore subjoin a Glossary of all such words and expressions as have long since been universally accepted as the accredited phraseology of the Ball-room.

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A vos places, back to your own places.

A la fin, at the end.

A droite, to the right.

A gauche, to the left.

Balancez, set to your partners.

Balancez aux coins, set to the corners.

Balancez quatre en ligne, four dancers set in a line, joining hands, as in La Poule.

Balancez en moulinet, gentlemen and their partners give each other right hands across, and balancez in the form of a cross.

Balancez et tour des mains, all set to partners, and turn to places. (See Tour des mains.)

Ballotez, do the same step four times without changing your place.

Chaine Anglaise, opposite couples right and left.

Chaine des dames, ladies' chain.