retire, bending to each other. First lady and opposite gentleman
pass round each other to places. First couple cross over, having
hold of hands, while the opposite couple cross on the outside of
them--the same reversed. All set at corners, turn, and resume
partners. All advance and retire twice, in a circle with hands
joined--turn partners.
_Fourth Figure_.--The first lady and opposite gentleman advance and
stop; then their partners advance; turn partners to places. The four
ladies move to right, each taking the next lady's place, and
stop--the four gentlemen move to left, each taking the next
gentleman's place, and stop--the ladies repeat the same to the
right--then the gentlemen to the left. All join hands and promenade
round to places, and turn partners. Repeated by the other couples.
_Fifth Figure_.--The first couple promenade or waltz round inside
the figure. The four ladies advance, join hands round, and
retire--then the gentlemen perform the same--all set and turn
partners. Chain figure of eight half round, and set. All promenade
to places and turn partners. All change sides, join right hands at
corners, and set--back again to places. Finish with grand
promenade.
These three are the most admired of the quadrilles: the First Set
invariably takes precedence of every other dance.
[COFFEE WAS FIRST BROUGHT TO ENGLAND IN 1641.]
142. Spanish Dance.
Danced in a circle or a line by sixteen or twenty couples. The couples
stand as for a Country Dance, except that the first gentleman must
stand on the ladies' side, and the first lady on the gentlemen's side.
First gentleman and second lady balancez to each other, while first
lady and second gentleman do the same, and change places. First
gentleman and partner balancez, while second gentleman and partner do
the same, and change places. First gentleman and second lady balancez,
while first lady and second gentleman do the same, and change places.
First gentleman and second lady balancez to partners, and change
places with them. All four join hands in the centre, and then change
places, in the same order as the foregoing figure, four times. All
four poussette, leaving the second lady and gentleman at the top, the
same as in a Country Dance. The first lady and gentleman then go
through the same figure with the third lady and gentleman, and so
proceed to the end of the dance. This figure is sometimes danced in
eight bars time, which not only hurries and inconveniences the
dancers, but also ill accords with the music.
143. Waltz Cotillon.
Places the same as quadrille. First couple waltz round inside; first
and second ladies advance twice and cross over, turning twice; first
and second gentlemen do the same; third and fourth couples the same;
first and second couples waltz to places, third and fourth do the
same; all waltz to partners, and turn half round with both hands,
meeting the next lady; perform this figure until in four places; form
two side lines, all advance twice and cross over, turning twice; the
same, returning; all waltz round; the whole repeated four times.
144. La Galopade
is an extremely graceful and spirited dance, in a continual chassez.
An unlimited number may join; it is danced in couples, as waltzing.
145. The Galopade Quadrilles.
1st. Galopade.
2nd, Right and left, sides the same.
3rd, Set and turn, hands all eight.
4th, Galopade.
5th, Ladies' chain, sides the same.
6th, Set and turn partners all eight.
7th, Galopade.
8th, Tirois, sides the same.
9th, Set and turn partners all eight.
10th, Galopade.
11th, Top lady and bottom gentleman advance and retire, the other
six do the same.
12th, Set and turn partners all eight.
13th, Galopade.
14th, Four ladies advance and retire, gentlemen the same.
15th, Double ladies' chain.
16th, Set and turn partners all eight.
17th, Galopade.
18th, Poussette, sides the same.
19th, Set and turn.
20th, Galopade waltz.
146. The Mazurka.
This dance is of Polish origin--first introduced into England by the
Duke of Devonshire, on his return from Russia. It consists of twelve
movements; and the first eight bars are played (as in quadrilles)
before the first movement commences.
147. The Redowa Waltz
is composed of: three parts, distinct from each other. 1st, The
Pursuit. 2nd, The waltz called Redowa. 3rd, The waltz a Deux Temps,
executed to a peculiar measure, and which, by a change of the rhythm,
assumes a new character. The middle of the floor must he reserved for
the dancers who execute the promenade, called the pursuit, while those
who dance the waltz turn in a circle about the room. The position of
the gentleman is the same as for the waltz. The gentleman sets out
with the left foot, and the lady with the right. In the pursuit the
position is different, the gentleman and his partner face, and take
each other by the hand. They advance or fall back at pleasure, and
balance in advance and backwards. To advance, the step of the pursuit
is made by a glissade forward, without springing, _coupé_ with the
hind foot, and _jeté_ on it. You recommence with the other foot, and
so on throughout. The retiring step is made by a sliding step of the
foot backwards, without spring, _jeté_ with the front foot, and
_coupé_ with the one behind. It is necessary to advance well upon the
sliding step, and to spring lightly in the two others, _sur place_,
balancing equally in the _pas de poursuite_, which is executed
alternately by the left in advance, and the right backwards. The lady
should follow all the movements of her partner, falling back when he
advances, and advancing when he falls back. Bring the shoulders a
little forward at each sliding step, for they should always follow the
movement of the leg as it advances or retreats; but this should not be
too marked. When the gentleman is about to waltz, he should take the
lady's waist, as in the ordinary waltz. The step of the Redowa, in
turning, may be thus described. For the gentleman--_jete_ of the left
foot, passing before the lady. _Glissade_ of the right foot behind to
the fourth position aside--the left foot is brought to the third
position behind--then the _pas de basque_ is executed by the right
foot, bringing it forward, and you recommence with the left. The _pas
de basque_ should be made in three very equal beats, as in the
Mazurka. The lady performs the same steps as the gentleman, beginning
by the _pas de basque_ with the right foot. To waltz à deux temps to
the measure of the Redowa, we should make each step upon each beat of
the bar, and find ourselves at every two bars, the gentleman with his
left foot forwards, and the lady with her right, that is to say, we
should make one whole and one half step to every bar. The music is
rather slower than for the ordinary waltz.
[PHOSPHORUS WAS DISCOVERED IN 1677.]
148. Valse Cellarius.
The gentleman takes the lady's left hand with his right, moving one
bar to the left by _glissade_, and two hops on his left foot, while
the lady does the same to the right, on her right foot; at the second
bar they repeat the same with the other foot--this is repeated for
sixteen bars; they then waltz sixteen bars, _glissade_ and two hops,
taking care to occupy the time of two bars to get quite round. The
gentleman now takes both hands of the lady, and makes the grand
square--moving three bars to his left--at the fourth bar making two
beats while turning the angle; his right foot is now moved forward to
the other angle three bars--at the fourth, beat again while turning
the angle; the same repeated for sixteen bars--the lady having her
right foot forward when the gentleman has his left toot forward; the
waltz is again repeated; after which several other steps are
introduced, but which must needs be seen to be understood.
149. Circular Waltz.
The dancers form a circle, then promenade during the introduction--all
waltz sixteen bars--set, holding partner's right hand, and turn--waltz
thirty-two bars--rest, and turn partners slowly--face partner and
chassez to the right and left--pirouette lady twice with the right
hand, all waltz sixteen bars--set and turn--all form a circle, still
retaining the lady by the right hand, and move round to the left,
sixteen bars--waltz for finale.
150. Polka Waltzes.
The couples take hold of hands as in the usual waltz.
_First Waltz_. The gentleman hops the left foot well forward, then
hack; and _glissades_ half round. He then hops the right foot forward
and back, and _glissades_ the other half round. The lady performs the
same steps, beginning with the right foot.
_Second._ The gentleman, hopping, strikes the left heel three times
against the right heel, and then jumps half round on the left foot; he
then strikes the right heel three times against the left, and jumps on
the right foot, completing the circle. The lady does the same steps
with reverse feet.
_Third._ The gentleman raises up the left foot, steps it lightly on
the ground forward, then strikes the right heel smartly twice, and
_glissades_ half round. The same is then done with the other foot. The
lady begins with the right foot.
151. Valse a Deux Temps.
This waltz contains, like the common waltz, three times, but
differently divided. The first time consists of a gliding step; the
second a chassez, including two times in one. A chassez is performed
by bringing one leg near the other, then moving it forward, backward,
right, left, and round. The gentleman begins by sliding to the left
with his left foot, then performing a chassez towards the left with
his right foot without turning at all during the first two times. He
then slides backwards with his right leg, turning half round; after
which he puts his left leg behind, to perform a chassez forward,
turning then half round for the second time. The lady waltzes in the
same manner, except that the first time she slides to the right with
the right foot, and also performs the chassez on the right, and
continues the same as the gentleman, except that she slides backwards
with her right foot when the gentleman slides with his left foot to
the left; and when the gentleman slides with his right foot backwards,
she slides with the left foot to the left. To perform this waltz
gracefully, care must be taken to avoid jumping, but merely to slide,
and keep the knees slightly bent.
[AVERAGE WEIGHT OF MAN'S BRAIN, 3-1/2LBS, WOMAN'S 2LBS. 11OZ.]
152. Circassian Circle.
The company is arranged in couples round the room--the ladies being
placed on the right of the gentlemen,--after which, the first and
second couples lead off the dance.
_Figure._ Eight and left, set and turn partners--ladies' chain,
waltz.
At the conclusion, the first couple with fourth, and the second with
the third couple, recommence the figure,--and so on until they go
completely round the circle, when the dance is concluded.
153. Polka.
In the polka there an but two principal steps, all others belong to
fancy dances, and much mischief and inconvenience is likely to arise
from their improper introduction into the ball-room.
_First step._ The gentleman raises the left foot slightly behind the
right, the right foot is then hopped with, and the left brought
forward with a glissade. The lady commences with the right, jumps on
the left, and glissades with the right. The gentleman during his
step has hold of the lady's left hand with his right.
_Second step._ The gentleman lightly hops the left foot forward on
the heel, then hops on the toe, bringing the left foot slightly
behind the right. He then glissades with the left foot forward; the
same is then done, commencing with the right foot. The lady dances
the same step, only beginning with the right foot.
There are a variety of other steps of a fancy character, but they can
only be understood with the aid of a master, and even when well
studied, must be introduced with care. The polka should be danced with
grace and elegance, eschewing all _outré_ and ungainly steps and
gestures, taking care that the leg is not lifted too high, and that
the dance is not commenced in too abrupt a manner. Any number of
couples may stand up, and it is the privilege of the gentleman to form
what figure he pleases, and vary it as often as his fancy and taste
may dictate.
_First Figure._ Four or eight bars are devoted to setting forwards
and backwards, turning from and towards your partner, making a
slight hop at the commencement of each set, and holding your
partner's left hand; you then perform the same step (forwards) all
round the room.
_Second Figure._ The gentleman faces his partner, and does the same
step backwards all round the room, the lady following with the
opposite foot, and doing the step forwards.
_Third Figure._ The same as the second figure, only reversed, the
lady stepping backwards, and the gentleman forwards, always going
the same way round the room.
_Fourth Figure._ The same step as figures two and three, but turning
as in a waltz.
[MAN'S HEART BEATS 92,160 TIMES IN A DAY.]
154. The Gorlitza
is similar to the polka, the figures being waltzed through.
155. The Schottische.
The gentleman holds the lady precisely as in the polka. Beginning with
the left foot, he slides it forward, then brings up the right foot to
the place of the left, slides the left foot forward, and springs or
hops on this foot. This movement is repeated to the right. He begins
with the right foot, slides it forward, brings up the left foot to the
place of the right foot, slides the right foot forward again, and hops
upon it. The gentleman springs twice on the left foot, turning half
round; twice on the right foot; twice _encore_ on the left foot,
turning half round; and again twice on the right foot, turning half
round. Beginning again, he proceeds as before. The lady begins with
the right foot, and her step is the same in principle as the
gentleman's. Vary, by a _reverse turn_; or by going in a straight line
round the room. Double, if you like, each part, by giving four bars to
the first part, and four bars to the second part. The _time_ may be
stated as precisely the same as in the polka; but let it not be
forgotten that _La Schottische_ ought to be danced _much slower_.
156. Country Dances. _Sir Roger de Coverley_.
First lady and bottom gentleman advance to centre, salute, and retire;
first gentleman and bottom lady, same. First lady and bottom
gentleman advance to centre, turn, and retire; first gentleman and
bottom lady the same. Ladies promenade, turning off to the right down
the room, and back to places, while gentlemen do the same, turning to
the left; top couple remain at bottom; repeat to the end of dance.
157. La Polka Country Dances.
All form two lines, ladies on the right, gentlemen on the left.
_Figure_. Top lady and second gentleman heel and toe (polka step)
across to each other's place--second lady and top gentleman the
same. Top lady and second gentleman retire back to places--second
lady and top gentleman the same. Two couples polka step down the
middle and back again--two first couples polka waltz. First couple
repeat with the third couple, then with fourth, and so on to the end
of dance.
158. The Highland Reel.
This dance is performed by the company arranged in parties of three,
along the room in the following manner: a lady between two gentlemen,
in double rows. All advance and retire--each lady then performs the
reel with the gentleman on her right hand, and retires with the
opposite gentleman to places--hands three round and back again--all
six advance and retire--then lead through to the next trio, and
continue the figure to the end of the room. Adopt the Highland step,
and music of three-four time.
159. Terms used to Describe the Movements of Dances.
_Balancez_.--Set to partners.
_Chaine Anglaise_.--The top and bottom couples right and left.
_Chaine Anglaise double_.--The right and left double.
_Chaine des Dames_.--The ladies' chain.
_Chaine des Dames double_.--The ladies' chain double, which is
performed by all the ladies commencing at the same time.
_Chassez_.--Move to the right and left.
_Chassez croisez_.--Gentlemen change places with partners, and back
again.
_Demie Chaine Anglaise_.--The four opposite persons half right and
left.
_Demie Promenade_.--All eight half promenade.
_Dos-à-dos_.--The two opposite persons pass round each other.
_Demie Moulinet_.--The ladies all advance to the centre, giving
hands, and return to places.
_La Grande Chaine_.--All eight chassez quite round, giving
alternately right and left hands to partners, beginning with the
right.
_Le Grand Rond_.--All join hands and advance and retire twice.
_Pas d'Allemande_.--The gentlemen turn the partners under their
arms.
_Traversez_.--The two opposite persons change places.
_Vis-à-vis_.--The opposite partner.
[THE HUMAN BODY HAS 240 BONES.]
160. Scandal--Live it down.
Should envious tongues some malice frame,
To soil and tarnish your good name,
Live it down!
Grow not disheartened; 'tis the lot
Of all men, whether good or not:
Live it down!
*Him not in answer, but be calm;
For silence yields a rapid balm:
Live it down!
Go not among your friends and say,
Evil hath fallen on my way:
Live it down!
Far better thus yourself alone
To suffer, than with friends bemoan
The trouble that is all your own:
Live it down!
What though men _evil_ call your _good!_
So CHRIST Himself, misunderstood,
Was nailed unto a cross of wood!
And now shall you for lesser pain,
Your inmost soul for ever stain,
By rendering evil back again?
Live it down!
161. Errors in Speaking.
There are several kinds of errors in speaking. The most objectionable
of them are those in which words are employed that are unsuitable to
convey the meaning intended. Thus, a person wishing to express his
intention of going to a given place, says, "I _propose_ going," when,
in fact, he _purposes_ going. The following affords an amusing
illustration of this class of error:--A venerable matron was speaking
of her son, who, she said, was quite stage-struck. "In fact," remarked
the old lady, "he is going to a _premature_ performance this evening!"
Considering that most _amateur_ performances are _premature_, it
cannot be said that this word was altogether misapplied; though,
evidently, the maternal intention was to convey quite another meaning.
162. Other Errors
arise from the substitution of sounds similar to the words which
should be employed; that is, spurious words instead of genuine ones.
Thus, some people say "renumerative," when they mean "remunerative." A
nurse, recommending her mistress to have a _perambulator_ for her
child, advised her to purchase a _preamputator_!
163. Other Errors (2)
are occasioned by imperfect knowledge of the English grammar: thus,
many people say, "Between you and I," instead of "Between you and
_me_." And there are numerous other departures from the rules of
grammar, which will be pointed out hereafter.
164. By the Misuse of the Adjective:
"What _beautiful_ butter!" "What a _nice_ landscape!" They should say,
"What a _beautiful_ landscape!" "What _nice_ butter!" Again, errors
are frequently occasioned by the following causes:
165. By the Mispronunciation of Words.
Many persons say _pro_noun_ciation_ instead of _pronunciation_; others
say pro-nun'-she-a-shun, instead of pro-nun-ce-a-shun.
166. By the Misdivision of Words and syllables.
This defect makes the words _an ambassador_ sound like _a
nam-bassador_, or _an adder_ like _a nadder_.
167. By Imperfect Enunciation,
as when a person says _hebben_ for _heaven_, _ebber_ for _ever_,
_jocholate_ for _chocolate_, &c.
168. By the Use of Provincialisms,
or words retained from various dialects, of which we give the
following examples:
169. Cambridgeshire, Cheshire, Suffolk, &c.
Foyne, twoyne, for _fine_, _twine_; ineet for _night_; a-mon for
_man_; poo for _pull_.
170. Cumberland, Scotland, &c.
Cuil, bluid, for _cool_, _blood_; spwort, seworn, whoam, for _sport_,
_scorn_, _home_; a-theere for _there_; e-reed, seeven, for _red_,
_seven_; bleedin' for _bleeding_; hawf for _half_; saumon for
_salmon_.
171. Devonshire, Cornwall, &c.
F-vind for _find_; fet for _fetch_; wid for _with_; zee for _see_;
tudder for _the other_; drash, droo, for _thrash_, and _through_;
gewse for _goose_, &c.
172. Essex, London, &c.
V-wiew for _view;_ vent for _went;_ vite for _white;_ ven for _when;_
vot for _what_. Londoners are also prone to say Toosday for _Tuesday;_
noomerous for _numerous_; noospaper for _newspaper_, &c.
[THE MUSICAL SCALE WAS INVENTED IN 1022.]
173. Hereford, &c.:
Clom for _climb;_ hove for _heave;_ puck for _pick;_ rep for _reap;_
sled for _sledge_.
174. Leicestershire, Lincolnshire, Lancashire, &c.
Housen for _houses;_ a-ioyne for _lane;_ mon for _man;_ thik for
_this;_ brig for _bridge;_ thack, pick, for _thatch, pitch_.
175. Yorkshire, &c.
Foyt for _foot;_ foight for _fight;_ o-noite, foil, coil, hoil, for
_note, foal, coal, hole;_ loyne for _lane;_ o-nooin, gooise, fooil,
tooil, for _noon, goose, fool, tool;_ spwort, scworn, whoam, for
_sport, scorn, home;_ g-yet for _gate_.
176. Examples of Provincial Dialects.
The following will be found very amusing:
177. The Cornish Schoolboy.
An ould man found, one day, a young gentleman's portmantle, as he were
a going to es dennar; he took'd et en and gived et to es wife, and
said, "Mally, here's a roul of lither, look, see, I suppoase some poor
ould shoemaker or other have los'en; tak'en, and put'en a top of the
teaster of tha bed; he'll be glad to hab'en agin sum day, I dear say."
The ould man, Jan, that was es neame, went to es work as before.
Mally then opened the portmantle, and found en et three hunderd
pounds. Soon after thes, the ould man not being very well, Mally said,
"Jan, I'ave saaved away a little money, by the bye, and as thee
caan't read or write, thee shu'st go to scool" (he were then nigh
threescore and ten). He went but a very short time, and comed hoam one
day and said, "Mally, I waint go to scool no more, 'caase the childer
do be laffen at me: they can tell their letters, and I caan't tell my
A, B, C, and I wud rayther go to work agen." "Do as thee wool," ses
Mally. Jan had not been out many days, afore Vhe young gentleman came
by that lost the portmantle, and said, "Well, my ould man, did'ee see
or hear tell o' sich a thing as a portmantle?" "Port-mantle, sar,
was't that un, sumthing like thickey?" (pointing to one behind es
saddle). "I vound one the t'other day zackly like that." "Where es,
et?" "Come along, I carr'd'en and gov'en to my ould 'ooman, Mally;
thee sha't av'en, nevr vear.--Mally, where es that roul of lither I
broft en tould thee to put en a top o' the teaster of the bed,
_afore I go'd to scool?_" "Drat thee emperance," said the young
gentleman; "thee art bewattled; _that were afore I were born._"
So he druv'd off, and left all the three hunderd pounds with Jan and
Mally.
178. Yorkshire.
Men an' women is like so monny cards, played wi' be two oppoanents,
Time an' Eternity: Time gets a gam' noo an' then, and hez t' pleasure
o' keepin' his cards for a bit, bud Eternity's be far t'better hand,
an' proves, day be day, an' hoor be hoor, 'at he's winnin incalcalably
fast.--"Hoo sweet, hoo varry sweet is life!" as t' fiee said when he
wur stuck i' treacle!
179. Effect of Provincialisms
Persons bred in these localities, and in Ireland and Scotland, retain
more or less of their provincialisms; and, therefore, when they move
into other districts, they become conspicuous for their peculiarities
of speech. Often they appear vulgar and uneducated, when they are not
so. It is, therefore, desirable for all persons to approach the
recognised standard of correctness as nearly as possible.
180. Correction of Errors in Speaking.
To correct these errors by a systematic course of study would involve
a closer application than most persons could afford, and require more
space than we can devote to the subject. We will therefore give
numerous Rules and Hints, in a concise and simple form, which will be
of great assistance to inquirers. These Rules and Hints will be
founded upon the authority of scholars, the usages of the bar, the
pulpit, and the senate, and the authority of societies formed for the
purpose of collecting and diffusing knowledge pertaining to the
language of this country.
[A SALMON NAS BEEN KNOWN TO PRODUCE 10,000,000 EGGS.]
181. Rules and Hints for Correct Speaking.