_2nd Figure_.--(Eight bars rest.) Top and bottom couples advance and retire, hands joined (four bars). All cross over into opposite places, each going to each other's left (four bars); _pet.i.t tour_ forward (four bars); advance and retire (four bars), and return to places (four bars); _pet.i.t tour_ (four bars). Side couples do likewise.

_3rd Figure_.--(Eight bars rest.) Top and bottom ladies cross over into opposite places (four bars); return, presenting left hands to each other, and right hands to partners, as in _La Poule_ (four bars); pa.s.s round with partners into opposite places (four bars); _pet.i.t tour_ backward (four bars); _vis-a-vis_ couples hands across, round (six bars); retire (two bars); top and bottom ladies cross over (four bars); ladies cross again, giving each other left hands, and right to partners (four bars). All pa.s.s round to own places (four bars); _pet.i.t tour_ backward (four bars).

_4th Figure_.--(Eight bars rest.) Top couple lead round inside the figure (eight bars); _pet.i.t tour_ forward and backward (eight bars); advance to opposite couple; the gentleman turns half round without quitting his partner, and gives his left hand to opposite lady; the two ladies join hands behind gentleman (four bars); in this position the three advance and retire (eight bars). The gentleman pa.s.ses under the ladies' arms; all three pa.s.s round to the left, with second step of Cellarius, the opposite lady finishing in her own place (four bars). The top couple return to places (four bars); _pet.i.t tour_ forward (four bars). Opposite couple and side couples do likewise.

_5th Figure_.--(Eight bars rest.) Top and bottom couples half right and left (four bars); _pet.i.t tour_ backward (four bars); half right and left to places (four bars); _pet.i.t tour_ backward (four bars); _vis-a-vis_ couples hands round to opposite places (four bars); _pet.i.t tour_ forward (four bars); hands round to own places (four bars); _pet.i.t tour_ (four bars); right and left (eight bars).

Side couples do likewise.

_Finale_. Grand round all to the left, and then to the right (sixteen bars); grand chain, as in the Lancers, with first step of Cellarius (sixteen bars). But if there are more than eight in the quadrille, the music must be continued until all have regained their places.

N.B.--Music continues during rest.

[Footnote A: This step will be found farther on in the book, under the head of the Redowa Valse.]

XII.--THE POLKA MAZOURKA.

The step of this dance is, as its implies, a mixture of the steps of the Polka and the Mazourka. It is a favourite dance with the Parisians, but has never been very popular in England, probably from the same reasons which prevented the success of the Cellarius. Yet it is a pretty dance, and the step is easily acquired. We recommend it to the attention of our readers. The time is 3/8, and quicker than that of the Cellarius.

Gentleman takes his partner as in the valse. _Figure en tournant_.

We describe the steps for the gentleman; the lady simply reverses the order of the feet, using left foot for right throughout.

_1st beat_.--Rest on right foot, with left foot a little raised behind, and slide left foot to the left.

_2nd beat_.--Spring on the right foot, bringing it up to where the left foot is, and raising the latter in front.

_3rd beat_.--Spring once more on right foot, pa.s.sing left foot behind without touching the ground with it; this ends first bar.

_2nd bar, 1st beat_.--Slide left foot to the left, as before.

_2nd beat_.--Spring on right foot, as before, and bring it up to the place of left foot, raising latter at same moment.

_3rd beat_.--Fall on the left foot, and raise the right foot behind; end of second bar.

Begin third bar with right foot, and continue as before. You turn half round in the first three beats, and complete the circle in the second three.

XIII.--THE REDOWA, OR REDOVA.

The step of this valse somewhat resembles that of the Cellarius, and is used, as we have seen, in dancing the Mazourka Quadrille. It is an elegant valse, not so lively as the Polka Mazourka, but, if danced in correct time, not too slowly, is very graceful and pleasing. The step is not so difficult as that of the Cellarius; it is almost a _Pas de Basque_, with the addition of the hop. In all these dances, which partake of the nature of the Mazourka, it is requisite to mark distinctly the first and third beats of every bar, otherwise the peculiar character of the movement is completely lost. We describe the step for the lady as it is employed in the forward movement.

_1st beat_.--Stand with right foot slightly forward; spring upon it, bringing it behind left foot, which is raised at same moment.

_2nd beat_.--Slide your left foot forward, bending the knee.

_3rd beat_.--Bring your right foot, with a slight hop, up behind your left foot, raising the latter and keeping it in front. (One bar.)

_1st beat_.--Spring Upon your left foot, pa.s.sing it behind your right, and raising latter.

_2nd beat_.--Slide right foot forward, bending the knee.

_3rd beat_.--Bring left foot up to right, with slight hop, and raise right foot at same moment, keeping it in front as before.

When the _figure en tournant_ (circular movement) is employed, the lady begins by sliding the left foot forward, and the right foot backward. Gentleman always does the same, with order of feet reversed.

This dance has been very popular in Paris; in England it is now seldom seen.

XIV.--THE SCHOTTISCHE.

The Schottische was introduced amongst us about the same time as the Polka Mazourka, but it received a much more cordial welcome, and has always been popular in England. Its origin is as uncertain as that of the Polka, and it is believed to be a very ancient national dance. It is a great favourite with the German peasantry; and although its name, _Schottische_, would seem to imply that it came from Scotland, there is no doubt that it is essentially German alike in character and in music.

The step, although easy to learn, requires great precision. We would recommend our readers to adhere throughout to the circular movement.

Some dancers begin by four steps to the right, then back again, not turning until they commence the second half of the figure. But when many couples are dancing this practice involves a risk of collisions, and it is safer to begin at once with the _figure en tournant_. The second part of the step consists of a series of slight hops, which must be made exactly at the same moment by both parties, otherwise a break-down is inevitable. They should be executed as quickly as possible, so as to avoid the _jigging_ effect which bad dancers impart to the Schottische. When well performed it is a very animated and elegant dance, forming an agreeable variety to the Polka and Valse.

The time is 2/4; it should be played a good deal slower than the Polka; when hurried it becomes ungraceful and vulgar. The first and third beat in each bar should be slightly marked.

We proceed to describe the step as danced by the gentleman.

Slide the left foot forward; bring right foot close up behind left foot. Slide left foot forward a second time. Spring upon left foot.

Then do the same with right foot.

Having completed four steps, first with the left foot, and then with the right, you come to the second part, which consists of a series of double hops, two on each foot alternately. Hop twice on the left foot (one hop for each beat of the time), and half turn round; then twice on the right, completing the circular movement. Repeat the same through another four beats; then resume first step through the next two bars, and continue to alternate them every second bar. You can also vary the dance at pleasure, by continuing the first step without changing it for the hops; or you can likewise continue these throughout several bars in succession; taking care, of course, to apprise your partner of your intention. Even when well and quietly danced, there is something undignified in the hopping movement of the second step; and we have observed with satisfaction that for some time past it has been replaced by the step of the _Valse a Deux Temps_, which is now generally used instead of the double hops.

XV.--LA VARSOVIENNE.

This is a round dance for two, which, like the Polka Mazourka, is a combination of the steps of one or two other dances. Since the introduction of the Polka and the Cellarius, several dances have been invented which partake largely of the character of both. La Varsovienne is very graceful, and was popular in England a few years ago. It is not often danced now.

Take your partner as for the Valse. Count three in each bar. Time much the same as in Polka Mazourka. The music is generally divided into parts of sixteen bars each. The steps for the gentleman is as follows in the first part:--

Slide left foot to the left; slightly spring forward with right foot, twice, leaving the left foot raised behind, in readiness for next step, (1st bar.) Repeat the same. (2nd bar.) One polka step, during which turn. (3rd bar.) Bring your right foot to the second position, and wait a whole bar. (4th bar.) Resume first step with right foot, and repeat throughout, reversing order of feet. Lady, as usual, begins with her right foot, doing the same step.

_Second step in second part. 1st bar_.--Gentleman, beginning with his left foot, does one polka step to the left, turning partner.

_2nd bar_.--Bring right foot to the second position, and bend towards it; wait a whole bar.

_3rd bar_.--One polka step with right foot to the right, turning partner.