_4th bar_.--Left foot to second position; bend towards it, and wait as before.

_Third part_.--Take three polka steps to the left. (This occupies three bars.) Bring right foot to second position, and wait one bar.

Repeat the same, beginning with right foot to the right.

XVI.--THE GORLITZA.

This is a Polish round dance for two, which was brought over to London from Paris in 1851. Like the Varsovienne, it is now seldom seen beyond the walls of the dancing academy. Perhaps one reason of its short-lived popularity is to be found in the fact that it is rather troublesome to learn, the steps being changed continually. The time is the same as that of the Schottische, but not quite so quick. Take your position as for the Polka.

_1st bar_.--One polka step to the left, beginning with left foot, and turning half round.

_2nd bar_.--Slide your right foot to right, bring left foot up close behind it, as in the fifth position; make a _glissade_ with your right foot, ending with your left in front.

_3rd bar_.--Spring on your right foot, raising your left in front.

Fall on your left foot, pa.s.sing it behind your right foot. _Glissade_ to right with right foot, ending with left in front.

_4th bar_.--Again spring on right foot, raising left in front. Fall on left foot, pa.s.sing it behind right. _Glissade_ to right, with your right foot; end with same foot in front. Then repeat from beginning during the next four bars, but the second time be careful to end with the left foot in front. During the last two bars you turn round, but do not move forward.

The step for the lady is the same, with the order of the feet, as usual, reversed; except, however, in the last two bars of this figure, which both begin with the same foot.

The Gorlitza, like the preceding dance, is divided into parts. The first part occupies eight bars of the music; the second, sixteen bars.

The step for the second part is as follows:--

_1st four bars_.--Commence with Polka Mazurka step, with left foot to the left, and turn half round. Then do the step of the Cellarius to the right, beginning with the right foot; fall on left foot, keeping it behind right foot; _glissade_ with right foot, and end with same in front.

_2nd four bars_.--Polka Mazurka, with right foot to the right, and turn half round. Cellarius step, with left foot to the left. Fall on right foot, keeping it behind; _glissade_ with left foot, bringing it behind.

Repeat from beginning, which completes the sixteen bars of second half of the figure.

Lady does the same steps, with order of feet reversed.

XVII.--THE VALSE A TROIS TEMPS

Twenty years ago, the Valse (or, as it was then p.r.o.nounced, _Waltz_) was a stately measure, danced with gravity and deliberation. Each couple wheeled round and round with dignified composure, never interrupting the monotony of the dance by any movements forward or backward. They consequently soon became giddy, although the music was not played above half as fast as the valse music of our day. We are bound to admit that this stately fashion of waltzing was infinitely more graceful than the style which has superseded it. But, having confessed so much, we may venture to add that the Valse, as danced by the present generation, possesses a spirit, lightness, and variety quite unknown to its stately predecessor.

The old Waltz was introduced into this country from Germany, where it has always been the favourite dance of the people in all ranks and conditions. But, although we adopted the step of their national waltz, we so entirely altered the time, that it became in our hands a totally different dance, which the Germans themselves would have found it difficult to recognize. At that period, "fast dancing" was unknown in England, and would have been regarded as highly indecorous.

At its first introduction, the Waltz was received with great mistrust by the older portion of the community. If it was to be tolerated at all in correct society, it must at least be danced in a deliberate manner, consonant with the dignity of the English character. It was, therefore, taken at half its original _temps_; it ceased to be the giddy, intoxicating whirl in which the Germans delight, and subsided into the comparatively insipid and spiritless affair known thirty years ago as the "German Waltz."

We have already seen how complete was the revolution effected by the Polka in these old-fashioned ideas. But, although we cannot regret the introduction of a more animated style of dancing, we are sorry that the old Waltz has been so entirely given up. When restored to its original _temps_, the _Valse a Trois Temps_ is nearly as spirited as the _Valse a Deux_; and twice as graceful. It has the additional advantage over the latter, that it contains in each bar three steps to three beats of the time; whereas the _Deux Temps_, as its name implies, numbers only two steps in a bar of three notes; and is thus incorrect in time. We venture to predict that the old Waltz will, at no distant day, be restored to public favour. We shall be heartily glad to welcome it once more, but on the condition that it shall be danced in the only manner which does justice to all its attractions; that is, as it is danced by the German peasants under the wide-spreading oaks of its own fatherland. We proceed to describe the step for the gentleman: the same, beginning with right foot instead of left, will apply to the lady.

Gentleman takes his partner round the waist with his right arm; his left hand holds hers, as in the Polka. Lady places left hand on his shoulder, and right hand in his left hand. Begin at once with the _figure en tournant_. Time 3/4; one step to each beat. First beat in each bar should be slightly marked by the dancers.

_1st beat_.--Slide left foot backwards, towards the left.

_2nd beat_.--Slide your right foot past your left in same direction, keeping right foot behind left, and turning slightly to the right.

_3rd beat_.--Bring left foot up behind right (one bar).

_1st beat_.--Slide right foot forward towards the right.

_2nd beat_.--Slide left foot forward, still turning towards right.

_3rd beat_.--Bring right foot up to right, turning on both feet, so as to complete the circle (two bars). Remember to finish with right foot in front. Repeat from first beat of first bar. Gentleman always turns from left to right; lady from right to left.

The step of the old Waltz is simple enough; nevertheless some practice is required to dance it really well. Remember always to _slide_, not to _step_, forward; for the beauty of this valse consists in its gliding motion. It is not at first easy to dance swiftly and quietly at the same time; but a little patience will soon enable you to conquer that difficulty, and to do full justice to what is, in our opinion, the most perfectly graceful of all the round dances, without a single exception.

XVIII.--THE VALSE a DEUX TEMPS.

We are indebted to the mirth-loving capital of Austria for this brilliant Valse, which was, as we have observed elsewhere, introduced to our notice shortly before the Polka appeared in England, and owed its popularity to the revolution in public taste effected by that dance.

Although the Polka has gone out of fashion, the _Valse a Deux Temps_ still reigns supreme; but within the last two years a dangerous rival has arisen, which may perhaps drive it in its turn from the prominent position which, for more than twenty seasons, it has maintained. This rival is the New Valse, of which we shall speak in its place; but we must now describe the step of the _Valse a Deux Temps_.

We have already remarked that this Valse is incorrect in time. Two steps can never properly be made to occupy the s.p.a.ce of three beats in the music. The ear requires that each beat shall have its step; unless, as in the Cellarius, an express pause be made on one beat.

This inaccuracy in the measure has exposed the _Valse a Deux Temps_ to the just censure of musicians, but has never interfered with its success among dancers. We must caution our readers, however, against one mistake often made by the inexperienced. They imagine that it is unnecessary to observe any rule of time in this dance, and are perfectly careless whether they begin the step at the beginning, end, or middle of the bar. This is quite inadmissible. Every bar must contain within its three beats two steps. These steps must begin and end strictly with the beginning and end of each bar; otherwise a hopeless confusion of the measure will ensue. Precision in this matter is the more requisite, because of the peculiarity in the measure. If the first step in each bar be not strongly marked, the valse measure has no chance of making itself apparent; and the dance becomes a meaningless _galop_.

The step contains two movements, a _glissade_ and a _cha.s.sez_, following each other quickly in the same direction. Gentleman begins as usual with his left foot; lady with her right.

_1st beat_.--_Glissade_ to the left with left foot.

_2nd and 3rd beats_.--_Cha.s.sez_ in the same direction with right foot; do not turn in this first bar.

_2nd bar, 1st beat_.--Slide right foot backwards, turning half round.

_2nd and 3rd beat_.--Pa.s.s left foot behind right, and _cha.s.sez_ forward with it, turning half round to complete the _figure en tournant_. Finish with right foot in front, and begin over again with left foot.

There is no variation in this step; but you can vary the movement by going backwards or forwards at pleasure, instead of continuing the rotatory motion. The _Valse a Deux Temps_, like the Polka, admits of a reverse step; but it is difficult, and looks awkward unless executed to perfection. The first requisite in this Valse is to avoid all jumping movements. The feet must glide smoothly and swiftly over the floor, and be raised from it as little as possible. Being so very quick a dance, it must be performed quietly, otherwise it is liable to become ungraceful and vulgar. The steps should be short, and the knees slightly bent.

As the movement is necessarily very rapid, the danger of collisions is proportionately increased; and gentlemen will do well to remember and act upon the cautions contained in the previous pages of this book, under the head of "The Polka".

They should also be scrupulous not to attempt to conduct a lady through this Valse until they have thoroughly mastered the step and well practised the _figure en tournant_. Awkwardness or inexperience doubles the risks of a collision; which, in this extremely rapid dance, might be attended with serious consequences.

The _Deux Temps_ is a somewhat fatiguing valse, and after two or three turns round the room, the gentleman should pause to allow his partner to rest. He should be careful to select a lady whose height does not present too striking a contrast to his own; for it looks ridiculous to see a tall man dancing with a short woman, or _vice versa_. This observation applies to all round dances, but especially to the valse, in any of its forms.

XIX.--THE NEW VALSE.

This graceful variation of the valse movement has not long been introduced into England, and is not yet so universally popular as it promises to become. It was, however, much danced in London last year, and there is reason to believe that it will be the favourite dance this season. It is more elegant than the _Valse a Deux Temps_, and more spirited than the Cellarius. The _tempo_ is slower than that of the ordinary valse. The step is extremely simple.