Now and then a breathless girl would drop out and rest a moment leaning against the wall. And just for fun an oldster like Old Buck Rawlins, who didn't even have a partner, caught up one boot toe and hopped off to a corner moaning:

Sudie, Sudie, my foot is sore, A-dancing on your puncheon floor.

Sometimes a young miss limped off to a chair. "Making out like someone stepped on her toe," Aunt Binie whispered behind her hand, for she knew all the signs of young folks, "but she's just not wanting to dance with Big Foot Jeff Pickett." The next moment Dan Spotswood had pulled himself loose from his cross-eyed partner and made his way to the side of his true love who had limped to the corner.

Nor was Uncle Mose unmindful of what was going on. The caller must have a quick eye, know who is courting, who is on the outs, who craves to be again in the arms of so and so. Quick as a flash he shouted, "Which shall it be Butterfly Swing or Captain Jinks?"

"Captain Jinks," cried Dan Spotswood jovially. For Dan knew the ways of the mountains. He didn't want any hard feelings with anyone. This dance would give all an opportunity to mingle and exchange partners. Even though Big Foot had tried his best to break up the match between him and Nellie, Dan meant that that fellow shouldn't have the satisfaction of knowing his jealousy. So he urged the couples into the circle. Dan, however, did see to it that he had Nellie's hand as they circled halfway around the crowded room before following the familiar calls of the play-party game as they sang the words along with the lively notes of the fiddle. They were words that their grandparents had sung in the days of the Civil War, with some latter-day changes:

Captain Jinks came home last night.

Pass your partner to the right; Swing your neighbor so polite, For that's the style in the army.

All join hands and circle left, Circle left, circle left, All join hands and circle left, For that's the style in the army.

They saluted partners, they stepped and circled, and sashayed, they fairly galloped around the room, much to the disapproval of old Aunt Binie. "I don't favor no such antic ways. They're steppin' too lively."

Her protest was heeded.

The fiddler stopped short. Folks were respectful in that day and time.

"Mose," the hostess called out to the fiddler when he had rested a little while, "please to strike up the tune Pop Goes the Weasel."

No sooner said than done. The notes of the fiddle rang out and Uncle Mose himself led off in the singing:

A penny for a spool of thread, A penny for a needle,

while old and young joined in the singing as each lad stepped gallantly to the side of the girl of his choice and went through the steps of the Virginia Reel.

Though all knew every step and danced with grace and ease, they perhaps did not know that the dance was that of Sir Roger de Coverley; that it was one of a large number of English country dances, so called, not because they were danced in the country, but because their English ancestors corrupted the French word _contredanse_, which had to do with the position the dancers assume. Of one thing they could be sure, however, they owed it to their elders that this charming dance had survived.[A]

With what charming ease even old Aunt Binie with an aged neighbor went through the lovely figures of the Virginia Reel, harking back to the days of powdered wigs, buckled shoes, satin breeches and puffed skirts, as the head lady and foot gentleman skipped forward to meet each other in the center of the set. How gracefully she bowed to him and he to her with hand upon his chest, as they returned to their places!

Then the head lady and foot gentleman skipped forward, made one revolution, holding right hands.

With dignity and charm they went through the entire dance while those on the side lines continued to sing with the fiddle:

A penny for a spool of thread, A penny for a needle.

That's the way the money goes.

Pop! goes the weasel.

Each time on the word "Pop!" the fiddler briskly plucked a string.

There was an interlude of fiddle music without words, then followed another verse while the dancers stepped the tune:

All around the American flag, All around the eagle, The monkey kissed the parson's wife, Pop! goes the weasel.

This was followed by a lively tune, Vauxhall Dance, with a lusty call from the fiddler: "Circle eight!"

Whereupon all joined hands, circled to the left and to place.

Head couple out to the right and circle four, With all your might Around that couple take a peek!

At this Dan Spotswood peeked at smiling Nellie, almost forgetting to follow the next figure in his excitement.

Back to the center and swing when you meet, Around that couple peek once more.

Back to the center and swing all four, Circle four and cross right o'er.

The dance was moving toward the end.

"Balance all. Allemande left and promenade," the fiddler's voice raised louder.

There was repetition of calls and figures and a final booming from the indefatigable caller: "Meet your partners and promenade home."

Then the fiddler struck up Cackling Hen and a Breakdown so that the nimblest of the dancers might show out alone and so the frolic and dance ended.

----- [Footnote A: DANCE DIRECTIONS:

I. (a). Head lady and foot gentleman skip forward to meet each other in center of the set. They bow and return to places.

(b). Head gentleman and foot lady repeat (a).

II. (a). The head lady and foot gentleman skip forward and make one revolution, holding right hands.

(b). The head gentleman and foot lady repeat (a).

(c). The head lady and foot gentleman skip forward and make one revolution, holding left hands.

(d). Head gentleman and foot lady repeat (c).

III. (a). Head lady and foot gentleman skip forward and around each other back to back.

(b). Head lady and foot gentleman repeat (a).

IV. The head couple meet in center, lock right arms, and make one and one-half revolutions. They go down the set swinging each one once around with left arms locked, the gentleman swinging the ladies, the lady swinging the gentlemen. They meet each other swinging a round with right arms locked, between each turn down the line. They swing thus down the set.

V. Couples join hands, forming a bridge under which the head couple skips to head of set. They separate, skipping down the outside of the lines and take their new places at the foot of the set. The original second couple is now the head couple. The dance is repeated from the beginning until each couple has been the head couple.]

THE INFARE WEDDING

Even when the dulcimer, that primitive three-stringed instrument, could not be had, mountain folk in the raggeds of Old Virginia were not at a loss for music with which to make merry at the infare wedding. They stepped the tune to the singing of a ballad, nor did they tire though the infare wedding lasted all of three days and nights. It began right after the wedding ceremony itself had been spoken--at the bride's home, you may be sure.

How happy the young couple were as they stood before the elder, the groom with his waiter at his side, and the bride with her waiter beside her. Careful they were too that they stood the way the floor logs were running. Thoughtless couples who had stood contrary to the cracks in the floor had been known to be followed by ill luck.

When the elder had spoken the word which made them one, the bride with her waiter hurried out to another room, if there was such, if not she climbed the wall ladder to the loft and there in the low-roofed bedroom she changed her wedding frock for her infare dress--the second day dress. In early times it was of linsey-woolsey, woven by her own hands, and dyed with homemade dyes, while her wedding frock had been of snowy white linsey-woolsey.

And what a feast _her_ folks had prepared for the occasion. Cakes and pies, stewed pumpkin that had been dried in rings before the fireplace, venison, and wild honey.

While the bride was changing to her infare dress, older hands quickly took down the bedsteads, tied up the flock ticks and shuck ticks in coverlids and quilts, shoved them back into the corners so as to make room for the frolic and dancing.

If the bride's granny lived it was her privilege to lead off in the singing, which she did in a high querulous voice while the young folks, the boys on one side, the girls on the other, faced each other and to soft handclapping and lightly tapping toe sang:

There lived an old Lord by the Northern sea, Bowee down, There lived an old Lord by the Northern sea, And he had daughters one, two three; I'll be true to my love, If my love will be true to me.