Where a room is set apart for refreshments, he offers to conduct her thither. At a public hall no gentleman would, of course, permit a lady to pay for refreshments.

No lady should accept refreshments from a stranger at a public ball; for she would thereby lay herself under a pecuniary obligation. For these she must rely on her father, brothers, or old friends.

Good taste forbids that a lady and gentleman should dance too frequently together at either a public or private ball. Engaged persons should be careful not to commit this conspicuous solecism.

Engagements for one dance should not be made while the present dance is yet in progress.

If a lady happens to forget a previous engagement, and stand up with another partner, the gentleman whom she has thus slighted is bound to believe that she has acted from mere inadvertence, and should by no means suffer his pride to master his good temper. To cause a disagreeable scene in a private ball-room is to affront your host and hostess, and to make yourself absurd. In a public room it is no less reprehensible. Always remember that good breeding and good temper (or the appearance of good temper) are inseparably connected.

Young gentlemen are earnestly advised not to limit their conversation to remarks on the weather and the heat of the room. It is, to a certain extent, inc.u.mbent on them to do something more than dance when they invite a lady to join a quadrille. If it be only upon the news of the day, a gentleman should be able to offer at least three or four observations to his partner in the course of a long half-hour.

Gentlemen who dance cannot be too careful not to injure the dresses of the ladies who do them the honour to stand up with them. The young men of the present day are singularly careless in this respect; and when they have torn a lady's delicate skirt, appear to think the mischief they have done scarcely worth the trouble of an apology.

A gentleman conducts his last partner to the supper-room, and, having waited upon her while there, re-conducts her to the ball-room. Never attempt to take a place in a dance which has been previously engaged.

Withdraw from a private ball-room as quietly as possible, so that your departure may not be observed by others, and cause the party to break up. If you meet the lady of the house on her way out, take your leave of her in such a manner that her other guests may not suppose you are doing so; but do not seek her out for that purpose.

Never be seen without gloves in a ball-room, though it were only for a few moments. Those who dance much and are particularly _soigne_ in matters relating to the toilette, take a second pair of gloves to replace the first when soiled.

A thoughtful hostess will never introduce a bad dancer to a good one, because she has no right to punish one friend in order to oblige another.

It is not customary for married persons to dance together in society.

[Footnote A: See "Etiquette for Ladies," and "Etiquette for Gentlemen," Sec. IX.]

IV.--THE QUADRILLE.

The Quadrille is the most universal, as it is certainly the most sociable, of all fashionable dances. It admits of pleasant conversation, frequent interchange of partners, and is adapted to every age. The young or old, the ponderous _paterfamilias_ or his sylph-like daughter, may with equal propriety take part in its easy and elegant figures. Even an occasional blunder is of less consequence in this dance than in many others; for each personage is in some degree free as to his own movements, not being compelled by the continual embrace of his partner to dance either better or worse than he may find convenient.

People now generally walk through a quadrille. Nothing more than a perfect knowledge of the figure, a graceful demeanour, and a correct ear for the time of the music are requisite to enable any one to take a creditable part in this dance. Steps are quite gone out of fashion: even the _cha.s.se_ has been given up for some time past.

A quadrille must always consist of five parts. If a variation be made in the fourth figure, by the subst.i.tution of _Pastorale_ for _Trenise_, the latter must then be omitted; or _vice-versa_. As soon as a gentleman has engaged his partner for the quadrille, he should endeavour to secure as his _vis-a-vis_ some friend or acquaintance; and should then lead his partner to the top of the quadrille, provided that post of honour be still vacant. He will place the lady always at his right hand.

Quadrille music is divided into eight bars for each part of the figure; two steps should be taken in every bar; every movement thus invariably consists of eight or of four steps.

It is well not to learn too many new figures; the memory is liable to become confused amongst them; besides which, it is doubtful whether your partner, or your _vis-a-vis_, is as learned in the matter as yourself. Masters are extremely fond of inventing and teaching new figures; but you will do well to confine your attention to a few simple and universally received sets, which you will find quite sufficient for your purpose. We begin with the oldest and most common, the

FIRST SET OF QUADRILLES.

First Figure.--Le Pantalon.

The couples at the top and bottom of the quadrille cross to each other's places in eight steps, occupying four bars of the time; then re-cross immediately to their own places, which completes the movement of eight bars. This is called the _Chaine Anglaise_. The gentleman always keeps to the right of _vis-a-vis_ lady in crossing, thus placing her _inside_.

Set to partners, or _balances_; turn your partners. (This occupies the second eight bars.) Ladies, chain, or _chaine des dames_. (Eight bars more.) Each couple crosses to opposite couple's place, gentleman giving his hand to his partner: this is called half-promenade. Couples recross right and left to their places, without giving hands, which completes another eight bars, and ends the figure.

The side couples repeat what the top and bottom couples have done.

Second Figure.--L'Ete

The ladies in all the top couples, and their _vis-a-vis_ gentlemen, advance four steps, and retire the same, repeating this movement once again, which makes the first eight bars.

Top ladies and _vis-a-vis_ gentlemen cross to each other's places; advance four steps; retreat ditto; cross back towards partners, who set to them as they advance; turn partners; which ends first half of figure.

Second ladies and top _vis-a-vis_ gentlemen execute the same movements. Then side couples begin, the privilege of commencement being conferred on those ladies who stand at the _right_ of the top couples.

This figure is sometimes performed in a different manner, known as double _L'Ete_. Instead of the top lady and _vis-a-vis_ gentleman advancing alone, they advance with partners joining hands; cross and return, as in the single figure. This variation is, however, somewhat out of vogue, except (as will presently be seen) in the last figure of the quadrille, where it is still frequently introduced.

Third Figure--La Poule.

Top lady and _vis-a-vis_ gentleman cross to each other's places, giving right hand in pa.s.sing; cross back again with left hand. (Eight bars.) The two couples form in a line, and join hands, the left hand of one holding the right hand of his or her neighbour, so that each faces different ways; in this position all four _balancez_, then half promenade with partner to opposite place; top lady and _vis-a-vis_ gentleman advance four steps and retire ditto. (2nd eight bars.) Both top and bottom couples advance together, and retire the same; then re-cross right and left to places. (3rd eight bars.) Second lady and first opposite gentleman repeat figure. Side couples repeat, observing same rule for commencement as in _L'Ete_.

Fourth Figure.--La Trenise.

Top couples join hands, advance four steps and retreat ditto: advance again, gentleman leaving lady at left hand of _vis-a-vis_ gentleman, and retiring alone, (1st eight bars.) Two ladies advance, crossing to opposite side; gentleman advances to meet his partner, _vis-a-vis_ lady returns to hers. (2nd eight bars.) _Balancez_; turn partners to places. (3rd eight bars.) Second couple performs same figure; side couples repeat as before.

If _La Pastorale_ be preferred, it will be performed thus:--Top couple advance and retreat; advance, gentleman leading lady to left hand of _vis-a-vis_ gentleman; he advances with both ladies four steps, retreating ditto; again advancing, he leaves both ladies with first gentleman, retreating alone; top gentleman and both ladies advance and retreat; again advance, joining hands in circle, go half round, half promenade to opposite places, then return right and left to their own.

Second couples and side couples repeat as before.

Fifth Figure.--La Finale.

Begin with the _grand rond_ or great round; that is, the whole quadrille; first and second couples and sides join hands all round, advance four steps, and retreat ditto. _L'Ete_ is now sometimes introduced, the _grand rond_ being repeated between each division of the figure. But it gives a greater variety and _brio_ to the quadrille if, after the first _grand rond_, the following figure be performed, the _galop_ step being used throughout. Each gentleman (at top and bottom couples) takes his lady round the waist, as for the _galop_; advance four steps, retreat ditto, advance again, cross to opposite places; advance, retreat, re-cross to own places. Ladies chain; half promenade across; half right and left to places; _grand rond_. Side couples repeat figure. _Grand rond_ between each division and at the conclusion. Bow to your partners, and conduct your lady to seat.

V.--THE CALEDONIANS.

This quadrille has, within the last few years become more fashionable than formerly. But it is not so frequently danced as the Lancers, still less as the First Set of Quadrilles. Each set can consist only of eight couples, differing in this respect from the simple quadrille, which admits of an indefinite number of couples.

_1st Figure_.--Top and opposite couples hands across; then back again; _balancez_ and turn partners; _chaine des dames_; half promenade across; half right and left to places.

_2nd Figure_.--Top gentleman advances and retreats twice. _Balancez_ to corners and turn, each lady pa.s.sing to her next neighbour's place.

Having changed your partner, all promenade quite round. Second, third, and fourth gentleman repeat same figure; thus all have regained their places.

_3rd Figure_.--Top lady and _vis-a-vis_ gentleman advance and retreat twice.

Top couple join hands and cross over; opposite couple cross likewise, separately, allowing top couple to pa.s.s between them; then top couple re-cross to places separately, leaving the second couple (who re-cross with joined hands) inside.

_Balancez_ to corners and turn your neighbour's partner; back to places. All four couples, joining hands in circle, advance and retreat twice. Same figure repeated by second and side couples.

_4th Figure_.--Top lady and _vis-a-vis_ gentleman advance four steps; second lady and her _vis-a-vis_ then do the same; each couple turns partner back to places. Ladies in all four couples move four steps to the right, each taking her neighbour's place; gentlemen then move four steps to the left, each into next neighbour's place. Ladies again to the right; gentlemen again to the left. Promenade round, turn partners to places. Second and side couples repeat in succession.