Part 31

Bourbon (Speaks of the mocking French ladies). They bid us to the English dancing-schools, And teach lavoltas high, and swift corantos; Saying, our grace is only in our heels, And that we are most lofty runaways.

NOTE ON ARBEAU'S 'ORCHESOGRAPHIE,' 1588.

This interesting book on the Art of Dancing was published at Macon [Transcriber's Note: corrected from Macon] in 1588. [The date on the title page is 1589.] The author was Jehan Tabourot, but his real name does not appear in the work, being anagrammatised into Thoinot Arbeau; and under the guise of Arbeau he is best known.

The treatise is written (like Morley's Introduction to Practical Music) in the form of Dialogue between Master (Arbeau) and Pupil (Capriol); and gives a most clear description of all the fashionable dances of the time, as far as words can do it; dance tunes in music type; and incidentally, many instructions as to the manners of good society.

As much light is thrown upon the dances which are mentioned in Shakespeare by this book, some of the principal descriptions will be given here, with the proper music.

On p. 25, Capriol (the Pupil) asks his Master (Arbeau) to describe the steps of the 'basse' dance. This was the 'danse par bas, ou sans sauter,' which was of the 15th century, was in triple time, and contained three parts, A, basse dance; B, Retour de la basse dance; C, Tordion. This 3rd part, or tordion, 'n'est aultre chose qu'une gaillarde par terre'; i.e., the Tordion of a Basse dance was simply a Galliard par terre, without the leaping or 'Sault majeur.'

Before Arbeau answers his pupil, he gives him some preliminary instruction as to the etiquette of the ball room. He says--'In the first place ... you should choose some virtuous damsel whose appearance pleases you (telle que bon vous semblera), take off your hat or cap in your left hand, and tender her your right hand to lead her out to dance. She, being modest and well brought up, will give you her left hand, and rise to follow you. Then conduct her to the end of the room, face each the other, and tell the band to play a basse dance. For if you do not, they may inadvertently play some other kind of dance. And when they begin to play, you begin to dance.'

Capriol. If the lady should refuse, I should feel dreadfully ashamed.

Arbeau. A properly educated young lady NEVER refuses one who does her the honour to lead her out to the dance. If she does, she is accounted foolish (sotte), for if she doesn't want to dance, what is she sitting there for amongst the rest?

The Master then gives his pupil an account of the basse dance, the 1st and 2nd parts of which are composed of various arrangements of the following movements--

1. La reverence, marked with a big R.

2. Le branle (not the dance of that name), marked with b.

3. Deux simples, marked ss.

4. Le double, marked d.

5. La reprise, marked with a little r.

The 'chanson'--i.e., the dance tune, was played on the flute, and accompanied by the 'tabourin' or drum, which beats all the time. Every 'bar' of the music is called either a 'battement' of the drum, or a 'mesure' of the chanson.

Now Arbeau explains the steps and time of each of the above five movements.

1. R. This takes four bars. Begin with left foot forward, and in doing the reverence, half turn your body and face towards the Damoiselle, and cast on her 'un gracieux regard.'

2. b. Also takes four bars. Keep the feet joined together, then for the 1st bar, swing the body gently to the left side; 2nd bar, swing to the right, while gazing modestly upon 'les assistants;' 3rd bar, swing again to the left; and for the 4th bar, swing to the right side, looking on the Damoiselle with an 'oeillade defrobee, doulcement et discretement.'

3. ss. 1st bar, left foot forward; 2nd bar, bring right foot up to the said left foot; 3rd bar, advance the right foot; 4th bar, join the left foot to the said right foot; et ainsi sera parfaict le mouvement des deux simples.

N.B.--Always suit the length of your steps to the size of the room, and the convenience of the Damoiselle, who cannot with modesty take such big steps as you can.

4. d. 1st bar, advance left foot; and, advance right foot; 3rd, advance left foot; 4th, join right to left. For two doubles (dd) do it over again, but contrariwise, beginning with the Right foot. For three doubles (ddd), the form of the third will be, 1st bar, advance left foot; 2nd, advance right foot; 3rd, advance left foot; 4th, 'puis tumbera pieds joincts comme a este faict au premier double.' And thus (he carefully adds) the three doubles are achieved in 12 'battements et mesures du tabourin.'

5. The Reprise (r) is commonly found before the branle (b), and sometimes before the double (d) [see the Memoires]. In it you have to cultivate a certain movement of the knees, or feet, or 'les artoils seullement,' as if your feet were shaking under you. 1st bar, 'les artoils' of the right foot; 2nd bar, do.; 3rd bar, of the left foot; 4th, of the right foot again.

The Memoire of the movements of the basse dance--i.e., its first Part, is--

R b ss d r | d r b ss ddd r d r b | ss d r b C.

The C means the 'conge,' or 'leave' which you must take of the Damoiselle, salute her, and keep hold of her hand, and lead her back to where you began, in order to dance the Second Part--namely, the Retour de la basse dance, the Memoire for which is--

b | d r b ss ddd r d r b | C.

Capriol now remarks that he has been counting up, and finds that the music of the basse dance proper (part 1) has 20 'fours' (vingt quaternions), and the retour (part 2) has 12 'fours.'