WEHMAN BROS.' BOOK ON THE WAY TO DANCE
A BOOK WHICH TEACHES THE ART OF DANCING WITHOUT A MASTER.
ILLUSTRATED.
PUBLISHED BY WEHMAN BROS., 126 PARK ROW, NEW YORK.
WEHMAN BROS.' NEW BOOK OF FUN, MAGIC AND MYSTERY
A BIG COLLECTION OF PARLOR MAGIC, TRICKS WITH CARDS, TOASTS, FORTUNE
TELLING, FUNNY READINGS,
FLIRTATIONS, AMUSING EXPERIMENTS, MONEY MAKING SECRETS, JOKES, RIDDLES,
CONUNDRUMS, PARLOR
AMUSEMENTS, PUZZLES, PROBLEMS, PARLOR GAMES, ETC .
EVERYTHING MENTIONED ON THIS PAGE ONLY 10 CENTS .
21 PUZZLES AND PROBLEMS . Real stickers. Will keep you guessing.
1 FORTUNE TELLING TABLET . As used by the Egyptian Astrologers.
1 NEW GYPSY FORTUNE TELLER . Tell your own fortunes. So simple a child
can easily learn it.
250 NEW JOKES, CONUNDRUMS AND RIDDLES . Bright, Puzzling, Genuine
Rib-ticklers. You will
laugh till you ache.
52 MONEY MAKING SECRETS . How to make all kinds of Soap, Ink, Paint,
Glue, Varnish, Boot, Shoe
and Furniture Polish, Mucilage, Hair Oil, Hair Dye, Washing, Baking and
Tooth Powder, etc.
40 AMUSING EXPERIMENTS IN MAGIC . Entertaining. Will astonish your
friends. To Melt Lead in
a Piece of Paper. Light Produced by Sugar. Artificial Lightning To Make
Water Freeze by the
Fire, etc.
58 VERSES IN COMIC POETRY . Will drive away the blues. Hot stuff.
7 PARLOR GAMES . An Evening's Entertainment for Young and Old.
11 PARLOR PASTIMES . Magic Age Table. Evening Amusement Game. etc. Will
keep a company in a continuous
laugh.
14 FLIRTATIONS . Postage Stamp, Handkerchief, Pencil, Parasol, Whip,
Hat, Fan, Glove, Cigar,
and Eye Flirtation. How to Kiss a Lady, Dining-Table Signaling. Window
Signaling. Lover's
Telegraph.
7 WONDERFUL FORTUNE TELLING SECRETS . By the Grounds of a Tea or Coffee
Cup. With Dominoes. By
Days of the Month. Augury by Dice. Character by the Month. Curious Signs
and Superstitions. How to Judge Any One's Character by Their Finger-Nails.
16 FEATS IN PARLOR MAGIC . How to put an Egg into a Bottle. To make
Water Rise from a Saucer into
a Glass. To Bring a Person Down Upon a Feather. To Hold a Glass of Water
Upside Down without Spilling. To Tell the Number any Person Thinks of. Wonderful Hat, etc.
10 FUNNY READINGS . Create roars of laughter. "Boy Lost."
"Female Stratagem." "Rules for Love
Making." "A Dreadful Accident." "Rules for
Bummers." "A Deceiving Letter." "Husband's
Commandments."
"Wife's Commandments." "Slight Hints." "Office
Rules."
15 TRICKS WITH CARDS . The Slipped Card. The Nailed Card. The Guess
Several Cards Chosen at Random.
The Recruit Trick. To Tell the Card that May be Noted. The Triple Deal.
The Three Jacks. To Find
the Number of Points on Three Unseen Cards. Wizard's Pack of Cards. Cards
Revealed by the Looking-Glass.
Circle of 14 Cards. Of Two Rows of Cards to Tell Which One Has Been
Touched. Card Named Without
Being Seen. Varions Other Tricks with Cards.
Here are a few samples:
71 TOASTS . Here's to one and only one, And may that one be she, Who
loves but one and only one, And
may that one be me.
43 EPITAPHS . Shed a few tear for Mary Mack, A trolly car hit her a
slap in the back Grieve for little
Micky Lynch, The undertaker had a cinch.
WEHMAN BROS., 126 PARK ROW, N. Y THE WAY TO DANCE. INTRODUCTION.
This volume, as its name indicates, is intended to teach the art of
dancing to those who, from
various causes, cannot avail themselves of the services of a professional
teacher.
The desire to make oneself agreeable is almost universal; and in no
place is a pleasant deportment
and graceful movements more appreciated than in the ball-room.
We have all seen persons on the dancing-floor who, to a laudable desire
to participate, in the
amusement united awkwardness and an almost utter ignorance of the figures;
and we also know
how painful a sight it is.
We venture to assert that a careful study of this book will enable any
one who is in possession
of the proper physical proportions, to become an accomplished dancer. It
is intended as a practical
guide, and contains nothing antiquated.
A few words on the etiquette of the ball-room may not be out of place.
A gentleman, upon arriving at the place of entertainment, will at once
escort the lady whom
he accompanies to the dressing-room, and then proceed to the hat-room and
divest himself of
his overcoat, hat, etc., and make any other preparations; he will then
return to the lady and
accompany her to the ball-room.
If it is a public ball the gentleman may at once provide the lady with
a seat; but at a private entertainment
it is customary to salute the host and hostess before being seated.
If you are an entire stranger, apply to the floor-managers for
introductions to partners.
At a private party this is not necessary, as the mere fact of being a
guest of the house is a sufficient
voucher.
After dancing with a lady always thank her for the pleasure she has
conferred, and do not monopolize
her attention too long thereafter.
The set of words to be used in asking a lady to dance is altogether a
matter of taste. "Will you
give me the pleasure," or, "May I have the honor of dancing with
you?" or anything of that tenor
will do.
No lady will peremptorily refuse to dance when respectfully requested.
An excuse, however,
no matter how inconsequent, should allay any mortification.
Now a word as to conversation while dancing. Some dancers make a
business of what should be essentially
a pleasure, and imagine that that business is well and satisfactorily
performed when they
have succeeded in going through the figures; and although they may not be
aware of it, the expression
of their faces would almost indicate that they were dancing as Herodias
did, and for as fearful
a stake. This is all wrong. Make conversation; don't stand during the
intervals as if you were
the sole occupant of the room. Talk to your partner whether she answers
you or not; it will give
you all appearance of familiarity with your surroundings. and make you not
only feel, but look
more at ease.
Don't drag your partner-lead her respectfully. Do not attempt to dance
without some knowledge
of the figures. Many persons attempt to learn dancing by the method of
attending balls and being
pulled through the figures; this is inexpressibly painful, and not only
destroys the pleasure
of those associated with you in the set. but renders you the subject of
uncomplimentary thoughts.
When you have learned to dance the figures, perform them
unostentatiously; don't contort
your body and dance as if on eccentric springs, but move quietly and with
dignity.
If, when you have become an accomplished dancer, you see a mistake:
made, apprise the person
in an undertone, and not as if you had invented the dance for your own
especial benefit; remember
the errors you have committed yourself.
It may be that an accident will place you in a position in the set
which of right belongs to another;
if so, vacate at once when requested, and with an apology; and if unable
to obtain the place of
honor at the head of the set, take the side cheerfully, remembering that
pleasure is the business
of the evening, and that you must not mar it.
The whole substance of etiquette is self-denial. We have seen more
genuine politeness in an
uncultured, uncouth and unlettered woodsman, than in many of the
"curled darlings" of society.
The kindly man is always polite; his ardent desire to save others from
annoyance constitutes
all there is of true politeness.
The rules of society differ in different places. A man may put his
knife in his mouth and dust
his boots with his handkerchief; but if he assumes discomfort to relieve a
weaker brother,
he is a gentleman in the highest sense. What we have endeavored to convey
in this introduction
is just that. Endeavor to make every one at ease and contented, and you
will be surprised (if
you have never tried it) how contented you will be yourself.
In regard to "calling off," we would say that it does not
matter who does it, providing he is fully
competent. Let him be careful to enunciate distinctly, speak loud enough
to be heard, and time
his call right, and he will fill the position with success. THE WAY TO
DANCE. The Primary Positions.
There are certain indispensable positions for the feet, and the
illustrations will enable
the student to understand them at once.
The first position, particularly, it is absolutely necessary to learn
correctly, as it gives
the key, and is the starting-point for all the rest.
Remember that nothing is more awkward than to walk with the toes
directed immediately in front;
how much more so, then, must it be to attempt to dance with the feet in
that position.
Study the illustrations attentively, and you will find it time well
spent.
First Position .-Place the feet with the heels touching, toes pointing
outward at an angle
of about sixty degrees. The body must be kept erect, and all the movement
must be below the hips.
By this, we mean that nothing but the legs and feet are to be moved, and
the body, while easy and
graceful in position, must not be inclined to either side. Let the arms
hang easily by the sides,
and avoid any constraint of attitude.
Second .-Throw the weight of the body on the left foot; extend the
right foot directly to the
right, toe on the ground, as far as possible without bending the body. In
this movement the instep
must be well arched, and be particular not to extend the foot so far as to
necessitate the bending
of the body in the opposite direction as a balance.
Some difficulty will no doubt be experienced in performing these
movements easily at first;
but constant practice, without which proficiency cannot be expected, will
overcome all stiffness,
and make the movements, as they are intended to be perfectly graceful. In
this connection we
would mention that no dancing, in the proper acceptation of the word, can
be performed in boots
or gaiters. The ankles must be untrammeled, and the foot, by practice,
accustomed to almost
any attitude. These instructions must be followed, no matter how wearisome
the routine may
become, and the student will not be grudge the time and labor when he
finds, as he surely will.
how great and indispensable an aid it has been to his subsequent efforts.
Third .-Bring the right foot back against the hollow of the left foot,
forming an angle of sixty
degrees with it, knee slightly bent. Keep the body turned directly to the
front, and do not allow
any movement of the feet to disturb its position.
While this movement may seem a very simple one, it nevertheless can
hardly be practiced too
much. In position No. 2 the foot was extended, and the body, as a
consequence, slightly out of
the line of gravity. In drawing back the foot to position No. 3, the
natural perpendicular is
regained.
Should the foot be drawn back hastily or sharply-as a hungry hen snaps
up a lone grasshopper-the
movement will be without grace or elegance. The foot should move easily.
and with equal rapidity
from the moment it begins to glide back from position, No. 2, until, the
heel having reached
the hollow of the foot, you find yourself in position No. 3.
This movement, well practiced, will enable you to "recover"
your perpendicular without any
of that peculiar and disagreeable jerkiness of movement so prominently
thrust on our observation
in almost every ball-room.
Fourth .-Extend the right foot to the right and slightly in front, toe
touching the ground.
The foregoing sentence is a bare statement of what to do. How to do it
is quite another thing.
Many of the same remarks can be applied here that were made regarding
position No. 3.
Keeping it ever in mind that every movement aims at the same particular
end , you will see the
necessity of these minute directions and instructions.
Having stood at rest in position No. 3, body erect yet not strained and
stiff, with heel at hollow
of the foot, you now want to get into position No. 4.
Not forgetting the great underlying principal of dancing-that dancing
is not dancing unless
graceful, is only a series of bodily contortions-you will not thrust your
foot out as if you
were kicking a tramp off the front steps. In fact, the greatest grace is
coupled with the appearance
of the least possible amount of expended energy. Advance the foot
slowly-comparatively speaking-heel
raised high and toe pointed down, just so that it skims the floor but does
not touch it.
When the foot has been extended at the proper distance, you will let
the toe fall ever so little,
and with body well poised, and not lopping away over on the reverse side,
you will stand with
nearly your whole weight on your left foot, with your right toe resting
lightly on the floor.
Fifth .-Bring the heel of the right foot up to and touching the toe of
the left, forming an angle
as in third position.
This position is recovered from in nearly the same manner as from
position No. 2, only that the
foot assumes a different position when it is again rested squarely on the
floor.
In this case the extended right foot is drawn back until its heel
touches the too of your left
foot.
This position might almost be said to be the key to the art of dancing
well and gracefully, for
there are few dances in which this position does not form an indispensable
part. In the round
dances the feet are in this position more frequently than any other, but
remain in it for so brief
a space of time, than even many dancers are not aware that there is such a
prescribed position;
these dancers are such as have learned to dance through brute force, as
one might say, perhaps
having had a sister or two, who insisted on their "going around,
anyhow," until at last they
have acquired the poetry of motion without even having analyzed it or
understanding the value
of "positions."
Practice well and carefully the recovery of the body from position No.
4 to the one we have described.
Then, commencing at position No. 1, go through all the movements of the
feet up to this point.
Then advance the right foot a little, and, on a graceful curve. Let it
glide back until you stand
as at first-with heels together.
There is really no sixth position, as it is already enumerated as the
first.
Seventh .-Extend the left foot directly to the left, toe touching the
ground.
As will have been observed, all the movements, up to this time, have
been performed by the right
foot; i. e .-only the right foot has had any practice, and the left foot
has remained idle. But
dancing requires the use of both feet, and being now in the sixth (first)
position, the following
figures will illustrate the movements with the left foot.
Being in position, with heels together, the feet forming an angle, you
first raise the heel
from the floor, which gives that arch to the foot which one so seldom
sees, but when seen always
draws encomiums from your lips. The heel being now raised from the floor,
the left foot gracefully
and smoothly glides out in a direct line to the left. During this
movement, the heel is kept much
farther away from the floor than the toe, as we said before, the latter
just skimming clear.
Being in position No. 7, you wish to occupy that of No. 8.
Eighth .-Bring the left foot back against the hollow of the right foot,
forming an angle of sixty
degrees.
You gently and quietly lift the left toe clear of the floor, (some
elegant dancers even permit
the toe to rest on the floor as the foot is drawn back), being careful,
when so doing, not to lurch
your body as if a ten-pound piece of lead were fastened to the soles of
your dancing shoes.
Practically this movement is precisely the same as that accomplished by
the right foot, but
the chances are that to learn to do it gracefully you will require much
more practice with the
left foot than with the right-for exactly the same reasons why the average
person cannot handle
a pocket-knife in, or throw a stone with his left hand.
Patience and perseverance, however, will enable you to do many things
that seem impossible,
and practice will assuredly enable you to master this movement.
Ninth -Extend, the left foot to the left, and slightly in front, toe
touching the ground.
The left heel being Lack against the hollow of the right foot, you will
again first lift the heel
from the floor. Remember this-always raise the heel first, and never, on
any account, be guilty
of the awkwardness of lifting the whole foot squarely.
Well, the heel being first raised, and the toe pointing toward the
floor, let it glide gracefully
outward and forward.
Above all, let the movement be continuous and even as to
rapidity-jerkiness and gracefullness
in dancing will not go together.
As we have intimated, the left foot may want a little more training
than the right, and you may
be more awkward in this movement than in the similar one with the right
foot, but stick to it and
you will conquer.
Tenth .-Bring the heel of the left foot up to and against the toe of
the right, forming an angle
as before.
From position No. 9 the left foot will be drawn back until its heel
meets the toe of the right foot.
Jerkiness of action is apt to creep in when performing this movement.
Guard against it-that is, if it is your desire, as we suppose it is, to
make a graceful dancer
of yourself.
Then glide the left foot, forward a little on a graceful curve, bring
it around and back, until,
the heels meeting, you are back to your first position.
On the positions we have described the whole art of dancing rests.
Consequently you will see
the necessity of practicing them until you are au fait . When that is the
ease, a few hours' practice
with a partner will prove the value of our lessons. The March.
Balls are always opened by a "Grand March." The leader is
usually the floor-manager, and he
is expected robe familiar with the different changes, so as to make the
march a pleasing opening
to the evening's amusements. All changes should he made at the corners of
the room, the marching
being done in lines parallel with the walls. We give a few of the changes.
In File .-The leader heads the line of march up the center of the room.
Reaching the head he turns
to the left and his partner to the right; the gentlemen follow him and the
ladies his partner.
When the leaders reach the bottom they pass each other, the line of
gentlemen going around the
room on the outside, the ladies on the inside, and in the opposite
direction. When the leader
meets his partner at the top of the room, they march together around the
room, followed by the
others.
In Column .-The leaders march around the room until they reach the
bottom left-hand corner.
There, instead of turning at right angles up the side of the room, they
must file to the right
and march in a line parallel with the advancing couples, but in an
opposite direction across
the room as each couple arrives at the same corner, they file to the right
and follow their leader.
When the leader has got across the room the first couple files to the
left, and march across back
again, and so on forming a serpentine line of march backwards and forwards
across the room until
the top of the room is reached. To make this effective, it requires a
number of couples, so that
there will be at least four lines, constantly passing each other in
opposite directions. When
the first couple reach the top of the room, they lead the march around the
room again, until all
the couples are following them in regular column.
By Platoons .-The leaders march up the center of the room. As they
reach the top, the first couple
passes around to the right, the second couple to the left; the remaining
odd couples in their
order to the right, and the even couples following to the left. All thus
march down the room,
until they meet in the middle at the bottom. There they turn up the center
again four abreast.
Arriving at the top, the first four wheel around by the right; the second
four wheel around by
the left, and so on alternately. each division marching down its side of
the room. When they
meet at the bottom, they advance up the center again, eight abreast. At
the top of the room the
first and third eight wheel to the right, and the second and fourth wheel
to the left, each succeeding
eight wheeling right and left alternately, down the sides of the room,
meeting at bottom, and
marching up the center sixteen abreast, thus forming full lines. At thee
top of the room all
halt, odd lines facing all to the right; the even lines all to the left,
the gentlemen step up
by the side of their partners and the front line marches in couples to the
right the others following,
and finish as "In column."
Serpentine .-All march once around the room. The leader steps in front
of his partner and leads
the way up the center; as each couple turns to go up the center, each
gentleman steps into single
line ahead of his partner, forming by degrees the whole into single file.
When the first gentleman
reaches the top of the room, he leads the Way to the right entirely around
and around the room,
each round passing inside the former, describing a serpentine track toward
the center. As
soon as the inner coil becomes small, the leader turns sharp to the left
and retraces his steps
between the coils, until he marches between the coils entirely out of
them. He continues until
all the coils are unwound, and then each gentleman retires a step to the
left of his partner,
and the march is continued in column until all the couples have fallen
into regular order again.
The Arbor .-This is a well-known and pleasing figure. All march around
the room in regular line.
The first couple join right hands, stop and raise their hands, forming an
arch. The second couple
pass underneath the arch, the gentleman first, and form another arch; the
third couple pass
under both, and also form an arch, and so on, each couple passing through
the arches ahead of
them in turn, until one continuous arch has been formed. The first couple
(now in the rear) their
pass through and out at the front end of the arbor, followed by each rear
couple in succession,
until the arches have all disappeared. If the number of couples is large,
the first couple can
follow the last couple at once under the arches, and repeat the arbor as
long as may be desired.
At the conclusion of the march, the leader gives the usual signal, and the
first dance commences.
EXPLANATION OF QUADRILLE MOVEMENTS.
The figures of the quadrille are formed by combining the elementary
movements, and while most
of them are very simple, some are complicated and must be thoroughly
understood, as the name
of the movement only is called.
In quadrille music each movement occupies four bars of the music.
Allemand .-The gentlemen take four steps toward lady of right-hand
couple, who advances to
meet him; he swings her half around, right hands joined; he then advances
four steps toward
his partner who comes to meet him, and swings her with left hand to place.
Balance to Corners .-Each gentleman turns toward the lady of the couple
on his left, makes three
short steps or glides to the right and stops then three to the left, and
steps, turns her with
both hands, and return to places.
Balance in Place .-Slide the right foot to the right, bring the left
foot in front of the right
in third position slide the left foot to the left, bring the right foot in
front of the left in
third position, repeat the whole.
Balance to Partners .-Danced by each couple independently. Partners
face each other, make
three short steps to the right and stop, three steps back again to the
left and stop, join bands
and turn once around in places.
Chassez .-Slide the foot sideways (the right foot to the right, or the
left foot to the left),
and bring the other foot close up to it, repeating the same successively
once to each beat or
count of the music as many times as circumstances may require. In chassez
across , the step is
executed three times with the right foot to the right, and bring the left
foot in front; then
three times with the left foot to the left, bringing the right foot in
front. When this step is
used in promenade , the gentleman makes seven steps with his left foot,
and the lady the same
number with her right foot.
Chassez All .-Ladies chassez four steps to the left and back; at the
same time the gentlemen
chassez four steps to the right and back, behind their partners. Turn
partners with both hands
to places.
Chassez to Partners .-Partners face each other; each takes three steps
forward, passing one
another on right side; then three steps backward again, turn partner in
place with both hands.
Chassez Across .-Each lady makes four steps to the left, passing across
in front of her partner;
at the same time each gentleman makes three steps to the right; bring left
foot up. All make a
short step forward and back in half time. All make three steps sideways,
back again to first
positions, and two short steps to fill up.
Cross Over .-When a couple cross over, each partner proceeds in a
straight line across, and
faces around, occupying the place exactly opposite to that from which he
or she started, so
that the gentleman who was on the left of his lady when he started, finds
himself on her right
after they have crossed over.
Cross Right Hands .-This movement requires four persons. The two
opposite persons join right
hands, and the two, Other opposites also join right hands at right angles
across the hands of
the first two. In this position all make four steps to the left, stop,
drop right hands, turn
around and cross left hands; in this position all make four steps to the
right, back again to
former positions.
Dos A Dos .-Both advance, pass on each other's right side, step across
to the right, back to back,
without turning around, and pass each other's left hands to places.
Forward and Stop .-Commence with the right foot, take three steps
forward, and bring the left
foot up behind the right. Remain so until further orders.
Forward And Back .-Begin with the right foot, take three steps forward,
and bring the left foot
behind the right; commence with the left foot, take three steps backward,
and bring the right
foot in front of the left.
Forward and Ladies to the Center .-Partners join right hands and
advance four steps; retire
four steps to places; again advance four steps toward center; each
gentlemen swings his partner
half around, so as to face him; she remains in center, and he retires to
his place.
Gentlemen to the Right .-Each gentleman goes through the same movement
with the lady of the
couple on his right, that is described: in "Ladies to the
right."
Grand Chain .-The partners of each Couple turn fading one another and
join right hands; the
gentlemen all go around to the right, the ladies to the left. Each
gentleman in starting passes
his partner on her right and drops her hand; joins left hand with next
lady, Who advances to meet
him, and passes her on her left and drops her hand; joins right hands With
next advancing lady,
passes her on her right, and drops her hand; and so on, alternately: right
hand and left hand
With each succeeding lady until he meets his partner just half way around
the quadrille; there
he salutes her, and joining right hands with her repeats the whole again
back to places.
Half Grand Chain .-Same as "Grand Chain," except that all
stop at, the saluting point half way
around. After "Half Grand Chain "if "Back Again" is
called, each gentleman, instead of saluting
his partner, joins right hands with her and both swing half around so as
to face in the opposite
direction, and then left and right back again to places.
Hands Around .-Join hands in a ring, and swing around the Circle one
entire revolution.
Hands all Around .-All the couples in the quadrille join hands in a
ring, and swing entirely
around in a circle back to places; or, swing eight steps to the left stop,
and eight steps to the
right back again to places.
Ladies to the Right .-Each lady takes four steps to the right, in front
of her right hand couple,
then dances four steps in front of the gentleman on her right, then turns
him once around with
both hands, and remains standing on his right side, taking the place of
his partner.
Ladies' Chain .-Two opposite couples at the same time. The opposite
ladies cross over, giving
each other right hands in passing; each lady joins left hands with
opposite gentleman, and
swings half around.
Repeat, swinging partners with left hand to places.
When not repeated, this is called "Half Ladies' Chain,"
leaving each lady standing to the right
of opposite gentleman.
Ladies' Grand Chain .-The four ladies cross right hands in center,
making a half turn; drop
right hands, and each lady joins left hands with opposite gentleman,
swinging him half around
in place. Repeat the entire movement back to places.
Promenade .-Each gentleman crosses hands with his partner, right hands
uppermost, and crosses
over, passing to the right of the opposite advancing couple, to opposite
couple's place.
When this is not repeated, it is called "Half Promenade," and
leaves the couple in opposite
places.
Promenade All .-Partners cross hands, right hands Uppermost, and all
the couples glide or
chassez seven steps to the right to opposite places, and stop; repeat to
places. When this is
not repeated, it is called "Half Promenade All."
Right and Left .-The two couples cross over, each gentleman touching
right hands with opposite
lady in passing. As he drops the passing lady's right band, he joins left
hands with his partner,
both turning half around into opposite couple's place.
Repeat this, bringing the Couples back to their original positions.
When the movement is not repeated, it is called "Half Right and
Left," and it leaves the couples
in the places opposite to those from which they started.
Right Hand Across and Left Back Again .-Opposite couples cross over,
the ladies inside, each
lady touching right hands with Opposite gentleman in passing. All face
around and return,
each lady joining left hands with opposite gentleman, whose hand she
retains; she then crosses
her right hand over her left, and joins right hands with her partner.
Turn Partners .-The gentleman takes his partner with both hands, and
they turn once around
to the left. When "Turn Partners" is called, it means that, both
hands are to be used, unless
the hand is specified, in which case one hand only is used. The Plain
Quadrille.
This is the most universal and most sociable of all dances. It is
specially adapted to conversation,
change of partners, and any one, without regard to age, can participate in
it.
The accompanying diagram shows the formation of a set.
The movements are as follows: FIRST FIGURE.
Head Couple: Right and Left 8 bars.
The first and second couples cross over, each lady passing between the
opposite couples; each
gentleman and opposite lady touch right hands in passing, the gentleman
afterward joining
left hands with his partner and turning her half way around, Occupying
opposite couple's original
places. This takes up four bars of the music, or eight counts . The same
movement repeated counts
eight , finishes up the eight bars, and brings the couples to their
original positions.
Balance 8 bars.
Each gentleman of head couples crosses hands with his partner, right
hands uppermost, and
crosses over with her to the opposite side, passing Opposite couple on the
right. This takes
eight counts ; return to places again, passing to the right.
Ladies Chain 8 bars.
The ladies cross over, giving right hand in passing, and then left hand
to opposite gentleman,
who turns her half around; the same movement repeated brings the ladies to
their respective
places again.
Half Promenade 8 bars.
Balance across, and end with couples facing each other; then half right
and left back to p!aces,
each lady passing between opposite couple, each gentleman touching right
hands with opposite
lady, and then joining left hands with his partner, turning her hair
around to place.
Head couples repeat the whole of first figure.
Side couples repeat twice. SECOND FIGURE.
Head Couples: Forward Two.
Forward and Back 4 bars.
First and second gentlemen join right hands with their partners; head
couples advance together
four steps, and retire to places.
Cross Over, Ladies Inside 4 bars.
Advance, drop hands, and proceed straight across, each lady passing
between opposite couple.
Chassez to Partners 4 bars.
The partners face each other, and chassez four steps to the right, and
four steps back again
to the left.
Cross to Places, Ladies Inside 4 bars.
Straight to places as before, each lady passing between opposite
couples.
Balance 8 bars.
In same manner as described in the first figure. The whole movement is
then repeated by the head
couples, and performed twice by the sides. THIRD FIGURE.
Head Couples: Right Hands Across 4 bars.
First and second couples cross straight over, the ladies passing
between opposite couples,
touching right hands in passing; returning, ladies join and retain left
hands with opposite
gentleman, turning half around so as to give their right hands (crossed
over their left) to
their partners; the four dancers, holding hands, take a step forward, and
another, backward,
repeating the movement so as to occupy eight counts ; then all drop left
hands, gentlemen remaining
their partners right, and half promenade back to opposite couples' places.
Left Hands Back 4 bars.
Balance in Center 4 bars.
Half Promenade to Opposite Places 4 bars.
Two Ladies Forward and Back 4 bars.
The two head ladies advance four steps and retire.
Two Gentlemen Forward and Back 4 bars.
The two gentlemen execute the same movement.
Forward Four and Back 4 bars.
Gentlemen join hands with partners, advance four steps, and retire.
Half Right and Left 4 bars.
Both couples cross over, gentlemen joining left hands with partners and
turning them to places.
Head couples repeat entire figure, and when side couples twice. FOURTH
FIGURE.
Head Couples Forward and Back 4 bars.
Forward Four, First Lady Cross Over 4 bars.
Each gentleman of the head couples joins right hand with his partner,
advances four steps,
and retires; again advances four steps; first gentleman leaves his
partner, who joins left
hands with opposite gentleman, who retires with both ladies, the first
gentleman retiring
to his place alone.
Forward Three and Back 4 bars.
The second gentleman and two ladies advance four steps, and retire; he
again advances and hands
the two ladies to first gentlemen, who advances to receive them, and
retires, the three retiring
at the same time; eight counts . The first gentleman and two ladies
advance four steps, and retire;
advance again and meet the second gentleman, all joining hands in a
circle.
Forward Again, Ladies Cross Over 4 bars.
Forward Three 4 bars.
Forward Again 4 bars.
Four Hands Half Around 4 bars.
The four dancers turn half around to the left, and each couple then
retires to opposite couple's
place.
Half Right and Left 4 bars.
Both couples cross over, the ladies passing between the opposite
couple. and partners turn
left hands to places.
The same figure is repeated the second gentleman leaving his partner
with the first gentleman.
The same is then performed twice by the sides, the third and fourth
couples leading off in rotation.
FIFTH FIGURE.
All: Promenade, 8 bars. Head couples: Forward two Same as in second
figure 16 bars. Balance,
8 bars.
The partners of each couple cross hands, right hands uppermost; all
promenade to the right
around the space of the quadrille, reaching their places at the end of the
eight bars of music.
Head couples forward two. Head couples balance; same as in second
figure.
The entire figure is: reported by head couples, and performed twice by
the sides.
All Chassez .-Partners face each other, chassez four steps to the right
and return. Salute,
and retire to seats. Fancy Quadrilles.
These figures are generally introduced in place of one of the figures
in the plain quadrille,
the one that it supersedes being optional; generally the second or fifth.
THE NINE-PIN.
This requires an extra gentleman, who takes his place in the center;
The movements are performed
at the will of the leader; forward four, ladies chain, ladies to the
center, right and left all
around, or any usher movements being called in succession. It is
preferable to introduce those
movements which require all the dancers, or at least one partner out of
each couple. At an unexpected
moment, generally in the middle of a movement where the gentlemen are
separated from their
partners, a signal is given, when each gentleman secures the nearest lady
for a partner, the
music stops, and each lady resumes her place with her new partner; the
gentleman who fails to
secure a partner becomes the nine-pin, and takes his place in the center
the music recommences
and dancing proceeds as before, until another signal is given. This is
repeated at will, generally
ending with All Chassez . The signal is given by a whistle blown by one of
the musicians, or by
the music ending abruptly with a sudden chord. THE JIG.
Hands all Around 8 bars.
First Couple to the Right and Balance 4 bars.
The first couple join hands, face the couple on their right, and
balance with jig step; then
join hands, making a right of four, and turn entirely around to the left,
the first couple returning
to places.
Four Hands Around 8 bars.
To the Left and Balance, 4 bars.
First couple balance with the couple on the left, swing around in ring,
and return to places.
Four Hands Around, 4 bars.
Hands all around, and the second couple perform the same figure,
followed by the other couples
in rotation; dance the figure four times. End with All Chassez . THE JIG
(No. 2).
All Hands Around 8 bars.
All join hands, and swing in a ring entirely around to places again.
Ladies to the Right, Four Times 32 bars.
Each lady balances with the gentleman on her right, turns him with both
hands, and stops at his
right side.
The same repeated until she turns her own partner and resumes her first
place.
Hands All Around 8 bars.
Gentlemen to the Right, Four Times 32 bars.
Each gentleman crosses over to couple on his right, balances with the
lady of that couple, turns
her in place, and stops at her right side.
The same is repeated until he turns his own partner into place again.
Hands All Around 8 bars.
End with All Chassez . Each gentleman is obliged to balance with each
lady in succession, and
herein is the opportunity for the display of his jig steps. THE MARCH.
This figure, to be effective, should be danced by at least eight sets.
Commence at the same time
as the music.
First Couple Promenade, Facing Outward 8 bars.
First couple dance around the inside of the quadrille, back to places,
facing outward.
Remaining Couples Fall in Column.
Pause in music. The third, fourth and second couples take their
positions in succession behind
the first couple, all facing in the same direction.
Ladies to the Right, Gentlemen to the Left; Forward, March.
The music plays a march, the gentlemen turn to the left and march in
line down the outside of the
column; the ladies turn to the right and march down the outside of their
side of the column. When
the head gentleman meets his partner at the bottom of the room, he turns
to the left, she to the
right, and march up the center, followed by the others in rotation.
This may be repeated if desired.
Halt.
All turn and face partners. Gentlemen turn quarter-face to the right,
ladies same to the left,
bringing partners facing each other.
All Four Steps Backward.
The gentlemen and ladies all step backward, forming a line on each
side, with a space down the
center between them, and partners facing each other.
The music now changes to a quick-step.
Head Couples Forward Two and Back 4 bars.
The head gentleman and his partner opposite, each take four steps
toward each other, and back
to places.
Forward Again and Swing 4 bars.
The same forward again, and swing once and a half around with both
hands.
Down the Middle and Take Bottom Places.
The same glide or chassez down the middle, and take places at bottom of
the lines, each on the
proper side.
Each Couple the same.
As soon as the first couple start down the middle, the second commence
"forward two," etc.,
and the moment the second couple start down the middle, the third couple
commence, and so on,
the lines gradually edging sideways toward the upper end, as each
successive couple gets to
the bottom. When the head couple have got hack again to the top of the
lines:
All: Forward and Back 4 bars.
The two lines advance four steps and back again.
Turn Partners, Couples in Column.
All forward again and turn partners, ending in column as at the
commencement of the march. THE
GAVOTTE.
Head Couples: Ladies Chain 8 bars.
Sides: Four Forward and Back 4 bars.
Each head couple falls in line, diagonally across left corner, with the
couple on the left;
thus two opposite lines are formed, two couples in each, diagonally across
the quadrille.
The two lines forward four steps toward each other and back.
Forward and Exchange Partners 4 bars.
All forward again; each gentleman turns opposite lady and takes the
place of her former partner;
this brings each gentleman into the opposite line, and facing his own
partner.
First Lady: Forward and Back Twice 8 bars.
First Gentleman: The Same 8 bars.
First Couple: Right Hands Across 4 bars.
Left Hand Back Again 4 bars.
Forward Two and Back 4 bars.
Dos a Dos 4 bars.
First couple advance toward each other, pass around from left to right,
back to back, and return
to places.
All: Forward and Back 4 bars.
Turn Partners to Places 4 bars. THE MINUET.
Head Couples: Forward and back 4 bars.
Dos a Dos 4 bars.
Gentlemen of head couple advance, and pass behind opposite ladies, back
to back, as in the Gavotte;
Sides: Four Forward and Back 4 bars.
The diagonal lines are formed in the same way as in the Gavotte; all
forward and back.
Forward and Exchange Partners 4 bars.
Same as in the Gavotte.
All: Ladies' Chain 8 bars.
Sides Four: Forward and Back 4 bars.
Turn Partners to Places 4 bars.
All turn partners, and resume original positions in the quadrille. THE
SOCIABLE.
Head Couples: Right and Left 8 bars.
Side " : Same 8 bars.
Ladies: To the Right, Turn and Change Partners 8 bars.
All: Promenade 8 bars.
Head Couples: Ladies Chain 8 bars.
Side " : " " 8 bars.
Ladies: To the Right 8 bars.
All: Promenade 8 bars.
Head Couples: Four Hands Around to Left and
8 bars.
Side Couples: Same 8 bars.
Ladies: To the Right 8 bars.
All: Promenade 8 bars.
Head Couples: Right Hands Across, Half Around
8 bars.
Side Couples: the Same 8 bars.
Ladies: To the Right 8 bars.
All: Promenade 8 bars.
Chassez and disperse.
Whenever the ladies go to the right, they balance with the gentleman to
the right, turn with
him, and remain by his side. The gentlemen by this means get new partners
each time the movement
is made. Repeat the entire figure, and the ladies will be brought back to
their original partners
for the last promenade. THE STAR.
Four Ladies: To Center and Back 4 bars.
The four ladies make four steps forward, and four steps back to places.
Four Gentlemen: The Same 4 bars.
Ladies Cross Right Hands, Half Turn to the Left 4 bars.
The ladies step quickly to the center, crossing right hands, and swing
to the left in the form
of a cross:
Turn, Cross Left Hands, Back Again 4 bars.
The ladies all wheel half around, dropping their right hands and
crossing left hands, and wheel
back again opposite partners:
Gentlemen: Right Hands to Partners.
As the ladies wheel round in the latter part of last movement they
extend their right hands,
which are taken and held in the right hands of their partners. This forms
the star. While in this
position:
All: Balance 4 bars.
All balance two short steps to the right, raising right hand slightly,
then two steps to the
left, raising left hands. Repeat the last four steps:
Turn Partners to Places 4 bars.
All drop left hands, and turn partners, with right hands, to places.
This figure is repeated as before; it is then performed twice through,
the gentlemen leading
off and crossing hands in the center, the ladies forming the outer ends of
the star THE BASKET.
This is the same as the second figure of the plain quadrille, with the
exception of the basket.
The ladies being in the center, with hands joined around, the gentlemen
form a circle with joined
hands outside.
Now the gentlemen swing half around to the left and back again to the
right, stopping so that
each gentleman is on the left of his partner. Pause in the music, during
which the gentlemen
raise their arms over the ladies' heads and bring them down, hands still
joined, in front of
the ladies; all balance; loosen hands and turn partners to places. In the
third and fourth times
of repeating the ladies are outside. CALLING.
Head Couples: Forward and Back 4 bars.
Cross Over 4 bars.
Chassez to Partners 4 bars.
Cross to Places 4 bars.
Balance 8 bars.
Ladies: Forward and Back 4 bars.
Forward and Join Hands 4 bars.
Gentlemen; Hands Around 8 bars.
Form Basket Pause.
All Balance 4 bars.
Turn Partners to Places 4 bars.
Repeat.
Side couples same twice, gentlemen in the center. THE SURPRISE
QUADRILLE. FIRST FIGURE.
First Lady: Balance to Right Hand Couple 4 bars.
Three Hands Around 4 bars.
The Three: Balance to Next Couple on Right. 4 bars.
Five Hands Around 4 bars.
The Five: Balance to Next Couple on Right 4 bars.
Seven Hands Around to Places 4 bars.
All: Balance and Turn Partners 8 bars.
Each lady leads off in succession. SECOND FIGURE.
Head Couples: To the Right 4 bars.
All: Chassez , and Form into Lines 4 bars.
Half Right and Left in Line 4 bars.
Half Right and Left Across 4 bars.
Half Ladies' Chain in Line 4 bars.
Half Ladies' Chain Across 4 bars.
Forward and Back in Line 4 bars.
Forward and Turn Partners to Places 4 bars.
Side Couples: The Same.
Head couples to the right brings the couples in the positions shown in
Diagram No. 1, thus:
Chassez .-Facing as in Diagram No. 1, the ladies chassez four steps to
the left and back; the
gentlemen, four steps to the right, behind the ladies, and back. At the
end of the chassez , all
turn, and face partners, as shown in Diagram No. 2:
Half Right and Left in Line .-They are now standing in two lines, and
the half right and left movement
is performed as they stand: at the end, all turn and face in the direction
shown in Diagram No.
3:
The same movement is then performed as they now stand, ending in line,
similar to the position
shown in Diagram No. 2: THIRD FIGURE.
All: Right and Left All Around 16 bars.
Bow to Corners, Bow to Partners 8 bars.
Right and Left All Around 16 bars.
Balance to Corners, Turn Partners 8 bars.
Head Couples: Forward to Center
Side Couples: Separate and Chassez to Head Couples'
4 bars.
Forward to Center
Repeat the Last Eight Bars to Places 8 bars. FOURTH FIGURE.
First Couple: Balance to Right Hand Couple 4 bars.
Four Hands Around 4 bars.
Right and Left with Next Couple 8 bars.
Ladies' Chain with Next Couple 8 bars.
All: Balance and Turn Partners 8 bars.
The other couples repeat in turn. FIFTH FIGURE.
First Couple: Forward and Back 4 bars.
Cross Over 4 bars.
Two Ladies: Join Hands, Chassez Inside, Chassez Outside,
Two Gentlemen: Join Hands, Chassez inside, Chassez Outside,
All: Balance and Turn Partners 8 bars.
Ladies: To Center and Back 4 bars.
To Center Again and Stop, Gentleman Join
4 bars.
Balance and Turn Partners to Places 8 bars.
Gentlemen: to Center and Back 4 bars.
To Center Again and Stop 4 bars.
Ladies: All Quickly to Seats;
Which will probably leave the gentlemen somewhat surprised. The
Lancers.
This is more complicated than the plain quadrille, and requires more
skill and precision.
There are five figures, and they require four couples in the set. The
music begins with eight
bars of introductory music. FIRST FIGURE.
Head Couple: Forward and Back 4 bars.
Head couple forward four steps and back. Forward again, and each
gentleman turns opposite
lady and returns to place.
Forward and Turn Opposite Partners 4 bars.
Cross Over 4 bars.
The first couple join hands and cross over, the second couple
separating to allow the first
to pass through between them.
Back to Places 4 bars.
Cross over again to places, the second couple this time joining hands,
and the first couple
separating to allow them to pass between.
Balance to Corners 8 bars.
Each of the four gentlemen advances four steps toward the lady on his
left; retires; again advances,
turns her around with both hands, and returns to place.
The entire figure is repeated by the second couple, they passing first
on the inside in crossing
over, and outside in returning. The third and fourth couples follow the
same routine, each
in turn. SECOND FIGURE.
Eight bars of introductory music.
Head Couples: Forward and Back 4 bars.
Four steps and retire. Forward again, the ladies remaining in the
middle, back to back, and
partners salute.
Forward and leave Ladies in Center 4 bars.
Chassez to Right and Left 4 bars.
Make four steps to the right and return. Turn partners to places with
both hands.
Turn Partners to Places 4 bars.
Side Couples: Divide, all Forward in Two Lines 4 bars.
Side Couples Divide .-The third gentleman and fourth lady form in line
with the first couple;
the third lady and fourth gentleman form in line with the second couple.
The two lines advance
four steps and retire. They again advance and turn partners to places.
The figure is repeated by the head couples, and then performed twice by
the side couples, the
head couples separating and forming line with the side couples.
Forward Again and Turn Partners to Places 4 bars.
Repeat.
Side Couples: The Same, Twice. THIRD FIGURE.
Eight bars of introductory music.
Head Couples: Forward and Back 4 bars.
Forward and Salute 4 bars.
Advance four steps and retire; again advance and salute opposite couple
and retire.
Ladies All: Cross Right Hands Half Around 4 bars.
Four ladies advance to the center, each giving her right hand to the
opposite lady; make four
steps forward to the right, holding hands; then all turn half around,
joining left instead
of right hands, and make four steps forward to the left. At the same time
the four gentlemen take
four steps to the left around the ladies, turn half around and return four
steps; then each gentleman
takes his partner by the right hand. Lastly, each couple turns to places.
This is repeated,
and then danced twice by the side couples. FOURTH FIGURE.
Head Couples: To the Right 4 bars.
The gentlemen of the two head couples lead their partners to face the
side couple on their right,
and salute. They then lead their ladies over to the opposite side couple
(the head couples passing
to the right of each other) and again salute. The two head couples turn
partners to places and
salute.
To the Left, 4 bars.
Turn Partners to Places 4 bars.
Right and Left 8 bars.
Head couples cross over, each lady passing between opposite couple;
partners take each other
by left hands and turn half around to opposite places. Return in the same
manner to places.
Repeat.
Side couples: The same, twice.
FIFTH FIGURE.
The dancing commences after a single introductory chord by the music.
All: Right and Left all Around 16 bars.
Each gentleman joins right hands with his partner. The gentlemen start
to the right, giving
left hands to the ladies, who start to the left, and give right and left
hand, alternately, until
they have got half way around, and find themselves facing their partners
again; salute and
repeat the same movement to places again and salute.
First Couple: Face Outward 8 bars.
The first couple join hands and promenade (sometimes polka) to the
right, entirely around
the inside of the quadrille, ending with their face outward, with backs to
the opposite couple.
The second and third couples fall in column facing the same way as the
first couple.
All: Chassez Across 8 bars.
The four gentlemen make four steps to the right, passing behind their
partners, and stop; then
four steps to the left. The four gentlemen retire a step to the left, and
the four ladies the same
to the right, in two single files, the four in each file turning around so
as to face the other
file.
First Couple: Down the Center and Back 8 bars.
The first couple join hands and promenade between the files, and back
again to their places
at the head of each file.
All: Forward and Back 4 bars.
Forward Again, Turn Partners to Places 4 bars.
All make four steps forward and four back. All forward again, and turn
partners to places, each
couple standing ready in position for the right and left all around.
The whole figure is repeated four times, each couple taking the lead in
rotation. The whole
closing with right and left all around; after which, all chassez , salute,
and the gentlemen
lead partners to their seats. THE ROYAL LANCERS.
This is danced by eight couples in a set. See diagram. FIRST FIGURE.
First Two Ladies and Opposite Gentlemen: Forward
4 bars.
Forward again, Turn Opposites with Both Hands
4 bars.
Head Couples: Cross Over, First Couples Inside 4 bars.
Cross Over, Back Again, Second Couples Inside 4 bars.
All Ladies: Balance with Gentlemen on their Right
4 bars.
Turn Gentlemen on Right, and Resume Place 4 bars.
Repeated by second two ladies and opposite gentlemen, followed in
rotation by the third two,
and fourth two ladies. SECOND FIGURE.
First Two Couples: Forward and Back 4 bars.
Forward Again, Leave Ladies in Center, Facing
4 bars.
Chassez Across 4 bars.
Turn Partners to Places 4 bars.
Head Couples: Forward and Back 4 bars.
Side 4 bars.
Repeated by the second, third and fourth couples, in pairs, in
rotation. THIRD FIGURE.
First Two Ladies and Opposite Gentlemen: Forward
4 bars.
Forward Again, Salute and Back 4 bars.
Ladies Chain in Corners 8 bars.
Second Two Ladies, etc., Repeat 16 bars.
To be danced four times.
FOURTH FIGURE. First Two Couples: To the Right and Second " "
To the Left, Salute. 4 bars.
Four Couples: Face Around, Cross Over and Salute 4 bars.
All: Chassez Across 4 bars.
Turn Partners and Take Your Places 4 bars.
Repeat.
Third and fourth couples go through same figure twice. FIFTH FIGURE.
Eight Ladies: Cross Right Hands, Entirely
8 bars.
Cross Left Hands, all Around, and Salute
8 bars.
First Two Couples; Promenade, ending in Places, Outwards;
Side Couples; Fall in, Forming Two Columns,
8 bars.
All: Chassez Across and Back 8 bars.
March, Ladies to the Right, Gentlemen to
8 bars.
(This is done by each column independently, but at the same time.)
All: Forward in Line, and back 4 bars.
Forward again, Turn Partners to Places 4 bars.
The whole figure is gone through four times, each pair of couples
leading off in succession.
The Caledonians.
This being an eminently sociable dance is considered even more
attractive than the Lancers.
There are five figures, danced by four couples in a set.
FIRST FIGURE.
Eight bars of introductory music.
Head Couples: Cross Right Hands Half Around 4 bars.
Head Couples advance and cross right hands, the gentlemen giving right
hands above, and the
ladies below; all make eight steps to the left, half around; reverse by
crossing left hands,
and make eight steps, in returning to places.
Left Hands Back 4 bars.
Balance to Partners and Turn 8 bars.
The partners of each couple face each other; each takes four steps to
the right, and four back
again to the left. Turn partners, holding both hands.
Ladies Chain 8 bars.
Opposite ladies advance, take right hands in passing, then join left
hands with opposite gentlemen,
and turn half around in opposite places, returning to places in same
manner.
Half Promenade 4 bars.
Head couples cross over, each lady passing between opposite couple, and
touching right hands
in passing; partners join left hands, and turn half around to places. The
whole figure is repeated
by the head couples, and then performed twice by the sides, making four
times altogether. SECOND
FIGURE.
Eight bars introduction.
Head Couples: Forward and Back 4 bars.
Forward Again, and Salute 4 bars.
Advance four steps and retire. Advance again, salute, and retire.
All Ladies Balance to the Right 8 bars.
Each lady advances to the gentleman on her right, taking four steps to
the right, and four steps
to the left; he then turns her around and places her at his right side, in
the place his partner
has left.
All: Promenade 8 bars.
The four couples then promenade all around with their new partners.
The figure is repeated by the head gentlemen, with their new partners;
the sides perform the
same twice, at last re-uniting original partners.
THIRD FIGURE.
Head Couples: Forward and Back 4 bars.
Advance four steps, and retire.
Forward, and Dos a dos 4 bars.
Forward again, each gentleman going to the left of opposite lady,
passing around behind her,
back to back, from left to right, and retire to place.
Cross Over, First Couple Inside 4 bars.
First couple join hands and cross over, passing between opposite
couple.
Back Again, Second Couple Inside 4 bars.
Second couple join hands and cross over inside opposite couple to
place.
Balance to Corners 8 bars.
Ladies advance four steps to the right, four steps to the left; turn
gentleman on their right,
and return to places.
All: Forward to Center
All the couples join hands, forming a circle; advance four steps toward
the center and retire.
Forward and Turn Partners 4 bars.
All, still with hands joined, advance four steps, and then turn
partners to places.
Head couples repeat the entire figure, except that the second time, in
crossing over, the second
couple pass inside in going, and outside in returning.
FOURTH FIGURE.
Head Couples: Forward 4 bars.
Head couples join hands with partners, advance four steps and retire.
Forward and Turn Partners 4 bars.
Head couples again advance four steps, and swing partners by both hands
to places.
Four Ladies: To the Right 4 bars.
Each of the four ladies advances to the gentleman on her right, making
four steps to the right
and four to the left, turns him, and takes his former partner's place at
his right hand.
Four Gentlemen: To the Left 4 bars.
Each of four gentlemen advances to the lady on his left, four steps to
the right and four to the
left, then turns the lady, and assumes her former partner's place on her
left side.
Four Ladies: To the Right 4 bars.
The four ladies repeat the movement as before.
Four Gentlemen: To the Right 4 bars.
The four gentlemen also repeat their previous movement. This brings
original partners together
again, but at opposite places.
All: Promenade 8 bars.
All four couples promenade around, returning to places last occupied.
The head couples repeat the entire figure, and at the end of it the
couples will be restored to
their original places. The same figure is then performed by the side
couples twice.
FIFTH FIGURE.
First Couple: Promenade 16 bars.
The first couple promenade entirely around the inside of the set,
returning to places.
Four Ladies: Forward and Back 8 bars.
The four ladies advance to center four steps and retire.
Four Gentlemen: Forward and Back 8 bars.
The four gentlemen advance to center four steps and retire.
All: Balance to Partners 8 bars.
Partners facing each other, make four steps to the right and four to
the left, and swing around
with both hands.
Right and Left Half Around 16 bars.
Each gentleman holds his partner's right hand, passing to the right;
the lady passes outside
to the left; the gentlemen give alternately left and right hands to the
ladies in passing, until
they meet their original partners half-way around. Then stop, take
partners by the right hand,
and swing once around.
All: Half Promenade to Places and Turn Partners 8 bars.
Partners join hands and promenade to places; then turn partners in
places.
Chassez Across and Turn at Corners 8 bars.
The gentlemen make four steps to the right, the ladies four to the
left, and turn corners with
right hands once around; all make four steps back to partners and turn
them with left hands to
places.
Repeat the figure, each couple leading off in the promenade in turn.
Finish with all chassez
and salute. Prince Imperial.
Eight bars introduction.
Head Couples: To the Right and Salute 8 bars.
The first couple goes to the right, facing third couple; the second
goes to the fourth couple;
all salute.
Take Side Ladies and go Opposite 4 bars.
First gentleman holds his partner's right hand with his right; with his
left he takes third
lady by her right hand, and leads the two ladies to second couple's place;
the second gentleman
does the same in regard to his partner and the fourth lady, and leads them
to first couple's place.
Ladies' Grand Chain (without Gentlemen), 8 bars.
This is not what is generally understood as a Ladies' Chain, but is
performed as follows:
The four ladies cross over, each giving right hand to opposite lady in
passing, and assume positions
thus:
The four ladies cross over, dancing as side couples, each giving left
hand to opposite lady
in passing; end as in diagram 1, except that the places of each will be
reversed. Repeat the whole
movement, finishing with each lady facing her own partner.
All: Chassez to Right and Left 4 bars.
Turn Partners, Head Couples at Opposite Places 4 bars.
All turn partners, the side couples remaining in their proper places,
the head couple being
in opposite places. The head couples repeat the figure as they stand, each
head couple getting
a different lady to retire with, and at the end of the figure the head
couples are in their original
places. Side couples repeat twice. SECOND FIGURE.
First Gentleman and Second Lady: Forward 2 bars.
Turn with both hands, the gentleman half around, and the lady entirely
around, and stop in center,
both facing the first lady.
Turn Both Hands, and Both Face First Lady 2 bars.
Cross Over and Turn with Left Hands 4 bars.
The first lady passes between the couple in front of her, crosses over
and turns second gentleman
with left hand in second couple's place; at the same time the first
gentleman and second lady
turn one another in first couple's place:
Head Couples: Forward and Back 4 bars.
Half Ladies' Chain 4 bars.
First and second ladies cross over, giving right hands in passing, and
turn partners with left
hands to places;
All: Chassez and Turn Corners, Right Hand 4 bars.
All make four steps to the right, turn right corners with right hands;
Turn Partners, Left Hands, to Places 4 bars.
Return four steps and turn partners with left hands to places. Repeat
figure three times, each
gentleman and opposite lady commencing in turn. THIRD FIGURE.
Front Couple: Forward 2 bars.
Gentleman Back to Place, Leaving Lady Facing Him in Center 2 bars.
The gentleman retires to place, leaving lady in the center, facing him.
Each couple does the
same in rotation, which leaves the four ladies in the center, back to
back.
Four Ladies: Join hands Back to Back, One Turn to Left 4 bars.
The ladies join hands as they stand back to back, and swing once
entirely around in a ring to the
left, ending face to face with partners; ladies then let go hands.
Four Gentlemen: Complete the Ring 4 bars.
Gentlemen step forward, join right hands with partners and left hands
with lady on the left,
and salute.
Balance as You Are 4 bars.
All make three steps toward the center and stop, the gentlemen
backward, the ladies forward.
All make three steps from the center, the gentlemen forward, the ladies
backward.
Turn Partners to Places 4 bars.
Each gentleman drops the hand of the lady on his left, and turns his
partner back to place.
The entire figure is performed four times; the first, second, third and
fourth couple commencing
the figure in rotation. FOURTH FIGURE.
Head Couples: Forward and Back 4 bars.
First Lady and Second Gentleman: To sides 4 bars.
The head couples forward again; the first lady places herself on the
left of the third gentleman;
the second gentleman takes his position on the right of the fourth lady;
the first gentleman
and second lady return to their respective places.
Forward Six and Back, Twice 4 bars.
The three on each side forward and back; over again.
Forward Two and Back 4 bars.
The first gentleman and second lady (at top and bottom) forward and
retire.
Forward Two, Salute, and Face Partners 4 bars.
The same two forward and salute, and each turns to the right, facing
original partner.
Four Hands Half Around 4 bars.
The four on each side join hands and swing half around in ring.
Gentlemen drop the hands of ladies
on their left, and head couples retire to opposite places.
Half Right and Left to Places 4 bars.
Head couples cross over to their original places, joining right hands
with opposite partners
in passing, and each couple swings with left hands to places. Head couples
repeat and side couples
repeat movement twice. FIFTH FIGURE.
Four Ladies: To the Right, Four Times 16 bars.
Each of the four ladies takes four steps to the right, and turns right
hand gentleman with right
hand; each lady again takes four steps toward the gentleman next on her
right, and turns him
with left hand; repeats with two succeeding gentlemen in the same manner,
which brings the
ladies back to partners again.
First Gentleman and Opposite Lady Forward and Back 4 bars.
Forward and Swing to Face Partners 4 bars.
The same two forward again, and swing half around by right hands, so
that each turns around facing
partner.
Head Couples: Chassez to Right and Left 4 bars.
Turn Partners to Places 4 bars.
Head Couples: Repeat the Whole Figure, with Second Gentleman and
Opposite Lady.
Side Couples: The Same, Twice. Waltz Quadrilles. NO. 1. FIRST FIGURE.
Head Couples: Right and Left 8 bars.
All: Waltz 16 bars
Head Couples: Ladies' Chain 8 bars.
All: Waltz 16 bars.
Side Couples: The Same. SECOND FIGURE.
Head Couples: Forward Two 16 bars.
All: Waltz 16 bars.
Repeat.
Side Couples: The Same, Twice. THIRD FIGURE.
Head Couples: Forward Four 4 bars.
Forward Again, Change Partners 4 bars.
All: Waltz 16 bars.
Repeat.
Side Couples: The Same, Twice. FOURTH FIGURE.
All: Join Hands, Forward and Back 4 bars.
Turn Partners to Places 4 bars.
All: Waltz 16 bars.
This is done four times. FIFTH FIGURE.
All: Right and Left Half Around 8 bars.
All: Waltz 16 bars.
Head Couples: Forward Two 16 bars.
All: Waltz 16 bars.
Side Couples: The Same.
All: At the Close, Salute 8 bars. NO. 2. FIRST FIGURE.
Head Couples: Right and Left 8 bars.
Balance 8 bars.
Ladies' Chain 8 bars.
All: Waltz 16 bars.
Repeat.
Side Couples: The Same, Twice. SECOND FIGURE.
Head Couples: Forward Two 16 bars.
All: Waltz 16 bars.
Repeat.
Side Couples: The Same, Twice. THIRD FIGURE.
Head Couples: Right Hands Across 4 bars.
Left Hands to Center 4 bars.
Balance in Center 4 bars.
Half Promenade to Opposite Places 4 bars.
All: Waltz 16 bars.
Repeat.
Side Couples: The Same, Twice. FOURTH FIGURE.
Head Couple: Balance to the Right 4 bars.
Exchange Partners, Gentlemen lead New Partners to
4 bars.
Ladies: Grand Chain 8 bars.
All: Forward and Back 4 bars.
Turn New Partners to Places 4 bars.
All: Waltz 16 bars.
Head Couples: Repeat, Ending with Own Partners Again.
Side Couples: The Same, Twice.
This figure is frequently performed somewhat differently. When the
exchange of partners
has been effected, instead of resuming positions in quadrille, the head
couples remain facing
their respective side couples, and a "Ladies' Chain" is made on
each side of the quadrille by
each two facing couples. There is no objection to this if there be plenty
of room, but where the
floor is well filled with sets, the space occupied by each set is
necessarily limited, and it
is better to execute a "Ladies' Grand Chain," with the couples
at their regular places. FIFTH
FIGURE.
All: Right and Left Half Around 8 bars.
Reverse to Places 8 bars.
Head Couples: Forward and Back 4 bars.
Forward and Salute 4 bars.
All Ladies: To the Right 8 bars.
All: Waltz 16 bars.
Head Couples: Repeat
Side Couples: The Same, Twice, Ending with Right and Left Half Around
and Reverse to Places
and Salute. The Glide Lancers.
The Glide, or Waltz Lancers, consists of the corresponding figures of
the original set, somewhat
curtailed to allow of the introduction, at intervals, of the waltz
movement. FIRST FIGURE.
Head Couples: Forward and Back 4 bars.
Forward and Turn Opposite Partner 4 bars.
Cross Over, First Couple Inside 4 bars.
Return, Second Couple Inside 4 bars.
Waltz 16 bars.
All: Balance at Corners 8 bars.
Side Couples: The Same. SECOND FIGURE.
Head Couples: Forward and Back 4 bars.
Forward, Ladies Face Partners 4 bars.
Chassez , and Turn Partners to Places 8 bars.
All: Ladies to the Right 8 bars.
Waltz 16 bars.
Repeat.
Side Couples: The Same, Twice THIRD FIGURE.
Head Couples: Forward and Back 4 bars.
Forward and Salute 4 bars.
Waltz 16 bars.
Ladies' Chain 8 bars.
Repeat.
Side Couples: The Same, Twice. FOURTH FIGURE.
Head Couples: To the Right, Salute 4 bars.
To the Left, Salute 4 bars.
Waltz 16 bars.
Right and Left Across 8 bars.
Repeat.
Side Couples: The Same, Twice. FIFTH FIGURE.
All: Right and Left All Around 16 bars.
First Couple: Waltz 8 bars.
All: Chassez Across 8 bars.
First Couples: Promenade 8 bars.
All: Forward and Back 4 bars.
Forward again, Turn Partners to Places 4 bars.
Repeat.
Side Couples: The Same, Twice, Ending With Right and Left All Around.
At the close of the waltz movements, all form in two lines; ladies in
one line, gentlemen in the
other, as in the fifth figure of the Lancers. The Virginia Reel.
First Gentleman and Last Lady Forward and Back 4 bars.
At the commencement the first and last couples are top and bottom. The
first gentleman and last
lady take four steps toward each other and back without turning.
First Lady and Last Gentleman the Same 4 bars.
First Gentleman and Last Lady Swing Right
4 bars.
They dance up to meet each other, join right hands, swing half around
and back to places.
First Lady and Last gentleman the Same 4 bars.
First Gentleman and Last Lady Swing Left Hands 4 bars.
The same movement as the last reversed; the other opposites do the
same.
First Gentleman and Last Lady Swing Both Hands 4 bars.
They meet in the middle as before, and swing half around to the left,
holding both hands, and
back to places; the other opposites do the same.
First Gentleman and Last Lady Dos a Dos 4 bars.
They advance to middle, pass each other on right hands, around each
other to the right, back
to back, without turning, and back, passing to left of each other to
places; the other opposites
do the same.
First Couple Turn Right Hands 2 bars.
The first gentleman and his partner join hands across the head of
lines, turn fully once around,
and drop right hands.
Separate and Turn Second Couple 2 bars.
The gentleman joins left hands with second lady, and swings her half
around; at the same time
the first lady joins left hands with second gentleman and swings half
around; the first gentleman
and his partner meet, facing each other. The first couple repeat these
movements with each
other and each succeeding couple until they reach the bottom. Then the
first couple join hands
and dance up the middle to their former places at the top. The gentlemen
march to the left and
the ladies to the right in line, and come up the middle to places. The top
couple dance down the
middle to the bottom and become bottom couple. Top and bottom couples
begin the figure over
again, and continue until the first couple have reached their places again
at the top. POP GOES
THE WEASEL.
Commence with the music, and begin and end in exact time with it.
Head Couple: Down the Middle, Back Again to
8 bars.
Down the Outside 8 bars.
The gentleman turns to the left, and the lady to the right, outside
their respective lines,
back again to places.
Right Hands Across with Second Lady 8 bars.
Head couple and second lady cross right hands, and swing to the left.
Left Hands Across 8 bars.
The three drop right hands, turn, cross left hands and swing to the
right. The second lady passes
quickly under the raised hands of the second couple to her place.
Right Hands Across with Second Gentleman 8 bars.
The head couple cross right hands with next gentleman, and swing around
to the left, change
hands, and swing left hands around to right. Gentleman passes under the
arms of head couple.
As soon as a couple has been passed the gentleman and lady move up a step
on their respective lines,
so as to leave a gap between them and the next couple. The head couple
repeat the whole figure,
turning and passing the third couple, and so each couple in succession,
until they arrive at
the bottom of the lines. As soon as the head couple has finished with the
third couple, the second
couple (now at the head of the lines) should also commence, and so keep as
many couples in motion
as possible.
This dance ends when the music stops. The Glide Caledonians. FIRST
FIGURE.
Head Couples: Right Hands Across 8 bars.
Balance to Partners 8 bars.
All: Waltz 16 bars.
Repeat.
Side Couples: The Same, Twice. SECOND FIGURE.
Head Couples: Forward and Back, Forward and
8 bars.
All: Ladies to the Right 8 bars.
All: Waltz 16 bars.
Repeat.
Side Couples: The Same, Twice. THIRD FIGURE.
Head Couples: Forward and Back, and Dos a Dos 8 bars.
All: Balance at Corners 8 bars.
Waltz 16 bars.
Repeat.
Side Couples: The same, twice. LAST FIGURE.
First Couple: Promenade 8 bars.
Four Ladies: Forward and Back 4 bars.
Four Gentlemen: Forward and Back 4 bars.
All: Balance to Partners 8 bars.
Waltz 16 bars.
Second, Third and Fourth Couples: The Same, in Turn. Round Dances.
The position in round dancing is of the utmost importance. We would
recommend that this style
of dancing be indulged in only by intimate acquaintances, as the necessary
proximity of the
performers is far from agreeable to a sensitive woman if her partner is
not a refined gentleman;
and of this it is almost impossible to be assured without an intimate
knowledge. The clasp should
be only close enough to enable the movements to be performed with comfort,
and to give the necessary
support.
The gentleman will place his right arm lightly about his partner's
waist, and clasp her right
hand with his left. The lady will place her left hand on the right
shoulder of the gentleman,
face turned slightly to the left. Avoid jerky movements, and let all
harlequin antics be relegated
to such absurdities as the "Boston Dip," and the
"Racquet." The waltz, when danced by two accomplished
performers, is the very "poetry of motion," and gives almost as
much pleasure to the beholders
as to the participants. THE POLKA.
Gentleman .-Raise the left foot to the side of the right ankle.
1. Spring on the right foot, and at the same time slide the left foot
forward.
2. Draw the right foot up close behind the left, in the third position.
3. Slide the left foot forward.
4. Spring on the left foot, and at the same time turn half around,
bringing the right foot behind,
raised from the floor, and close to the ankle of the left.
Recommence with the right foot; use each foot alternately to begin the
step.
Lady .-Same as the gentleman, except that the feet are reversed, she
starting with the right
foot.
The Reverse .-Remember that a complete revolution is required in polka
steps, one with the
left foot first, and the other with the right foot first, ending with the
weight on the right
foot. The reverse movement is the same step as the other, except that in
starting on each revolution,
the gentleman steps back with the left foot, drawing his partner around,
right foot first,
in the same direction as his left foot is going. Bend the head slightly in
the direction of the
outstepping foot, alternately. REDOWA.
Gentleman .-1. Stand with the weight on the right foot, spring on it,
and take a gliding step
with the left, in front of your partner (fourth position), ending with the
weight on the left
foot.
2. Bring the right foot behind the left, raising the left foot a little
from the floor, slightly
turning to the left.
3. Bring the left foot (same time turning quarter around to the right),
behind the right in third
position, the weight resting on the left foot, and the right slightly
raised from the left.
4. Spring on the left, and at the same time take a gliding step with
the right foot, backwards
to the right. (This brings the right foot between those of your partner.)
5. Bring the left heel in front of the ball of the right foot, still
turning to the right.
6. Bring the right foot up close to left foot, completing the full turn
to the right.
In completing the step the heel of the left foot should be slightly
raised, the toes lightly
touching the floor, ready to begin as described in No. 1.
Lady -The lady commences with the right foot the same time as the
gentleman, and executes the
divisions four, five, six , while the gentleman is executing one, two,
three ; while he performs
three, four, five , she continues with one, two, three , and so on. POLKA
MAZOURKA.
Gentleman .-Commence in the third position, resting on the right foot
with the left heel slightly
raised, toe pointing downward.
1. Slide the left foot forward to the left.
2. Bring the right foot up to the left; at the same time raise the left
foot, extending it, pointing
the foot down.
3. Bring the left foot back, close to the right, at the same time
springing on the right without
touching the left on the floor.
4. Slide the left foot forward.
5. Bring the right foot up to where the left foot was, raising the left
foot in front.
6. Fall on the left foot, raising the right foot behind, at the same
time turning half around.
Then commence with the right foot instead of the left, as in No. 1, and
so on, the mazourka part
being executed forward without turning; then turn half around.
Lady .-The lady proceeds in the same manner, except that she reverses
the feet, starting with
the right foot instead of the left. SCHOTTISCHE.
First Part .-This part should be danced by each couple in a direction
towards and from the center
of the room.
Gentleman .-1. Glide the left foot sideways.
2. Bring the right foot up close to the left in the third position.
3. Again glide the left foot sideways.
4. Spring on the left foot, and at the same time bring the right
behind, raised from the floor,
and close to the ankle of the left foot.
Repeat the same with the right foot thus:
1. Glide the right foot sideways.
2. Bring the right foot up close to the right in the third position.
3. Again glide the right foot sideways.
4. Spring on the right foot, and at the same time bring the left
behind, raised from the floor,
and close to the ankle of the right foot.
After executing the foregoing, commence the second part as follows:
Second Part .-1. Spring forward from the right foot to the left,
bringing the right foot, toe
pointing to the floor, behind, and close to the ankle of the left foot.
2. Spring, or rather hop on the left foot, at the same time turning
half around.
3. Spring forward on the right foot.
4. Hop on the right foot, at the same time turning half around.
Commence again with the first part, and continue with the second,
dancing each part alternately.
Lady .-Same as the gentleman, except that the feet are reversed, she
starting with the right
foot instead of the left. THE GALOP.
Gentleman .-1. Slide the left foot sideways.
2. Bring the right foot up behind the heel of the left in the third
position.
Repeat this until a change of direction is desired.
To reverse the direction, repeat the same movement, sliding with the
right foot first in the
opposite direction.
Lady .-Same as the gentleman, except the feet are reversed
WEHMAN BROS.' 100 POPULAR, COMIC, DRAMATIC AND DIALECT RECITATIONS No.
1 .
PRICE, 10 CENTS .
CONTENTS
Age of Man and Woman, The.
Antony and Cleopatra.
Arab's Farewell to His Steed, The.
Asleep at the Switch.
Baby, Der.
Barbara Fritchie (German version)
Baseball.
Battle of Fontenoy, The.
Betsey and I Are Out.
Betsey Destroys the Paper.
Bingen on the Rhine.
Bivouac of the Dead, The.
Calibre Fifty-Four.
Casablanca.
Catastrophe, A.
Charge of the Dutch Brigade, The.
Christmas Day at the Workhouse.
Colomb.
Dandy Fifth, The.
Daschen on the Rhine.
Dog and the Tramp, The.
Dorkins' Night.
Dot Baby of Mine.
Dot Stoppern Pony.
Down by the Rio Grande, or Lasca.
Draw Poker.
Dying Umpire, The.
Dyin' Vords of Isaac.
Evening Idol, An.
Excelsior.
Face Upon the Floor, The.
Gladiator, The.
Glove and the Lion, The.
Go Vay, Becky Miller.
Her Little Valise.
Home Attractions.
How Salvator Won.
How to Cure a Cough.
I Can't.
I Fights Mit Sigel.
In the Dark.
Irishman's Letter, An.
Lasca, or Down by the Rio Grande
Laugh in School, The.
Leedle Yawoob Strauss.
Level and the Square, The.
Liberty Enlightens the World.
Lights o' London, The.
Man and His Shoes.
Maniac, The.
Ma's Baby.
Maud Muller.
McGinty's Horse.
Miller and the Maid, The.
Modern Belle, The.
Mulhaley on Baseball.
My First Cigar.
Nobody.
O'Grady's Goat.
Only a Pin.
O'Reilly's Billy Goat.
Pat's Letter.
Schnitzerl's Velocipede.
Schoemaker's Boy, Der.
Sheridan's Ride.
Similar Case, A.
Some Simple Says.
'Specially Jim.
Strauss's Boedry.
Supposing.
That Vicious Old Bucket.
Truth in Parenthesis.
Two Bootblacks.
Village Blacksmith, The.
Watermill, The.
We Reap What We Sow.
Wet Sheet and a Flowing Sea, A.
What Water Will Do.
When McGee's 9 Played the Mets.
Why the Mule Escaped.
Wreck of the Hesperus, The.
Yaller Dog's Love for a Nigger, A.
Yuba Dam.
ADDRESS ALL ORDERS DIRECT TO WEHMAN BROS., 126 PARK ROW, NEW YORK .
WEHMANS BROS.' NEW BOOK OF TOASTS
No. 1 CONTAINING No. 1
A Collection of 350 Choice Toasts FOR USE ON ALL OCCASIONS PRICE, 10
CENTS.
A FEW SAMPLES OF WHAT THIS NEAT LITTLE BOOK CONTAINS ARE PRINTED HERE
BELOW :
Here's health to the girl Who will drink when she can; Here's health to
the girl Who will "rush
the tin can," And health to the girl Who can dance the can-can- 'Tis
the canny toast Of an uncanny
man.
Here's Champagne to our real friends, And real pain to our sham
friends.
Here's to a bird, a bottle And an open-work stocking, There's nothing
in this That's so very
shocking, The bird came from Jersey, The bottle from France, The open-work
stocking Was seen
at a dance.
A good wife and health Are a man's best wealth.
This is just the book you need when you are out at an Evening Supper,
Party, or with a crowd of the
boys having a good time. It contains 350 Toasts entirely different from
what you will find in
our 350 Toasts No. 2.
Better send 20 cents and get both numbers.
ADDRESS ALL ORDERS DIRECT TO WEHMAN BROS., 126 PARK ROW, NEW YORK .
WEHMAN BROS.' 100 POPULAR, COMIC, DRAMATIC AND DIALECT RECITATIONS No.
2 . PRICE, 10 CENTS
.
CONTENTS
Alex-and-Her
And the Gang Drinks with You
Annie and Willie's Prayer
Athiest and the Acorn, The
Auction Extraordinary
Baby's Prayer
Bad Whiskey
Bedbug, The
Bill Mason's Ride
Bootblack, The
Boss Tramp, The
Casabianca, (Comic version)
Casey at the Bat
Charge of the Light Brigade, The
Christopher Columbus
Collier's Dying Child, The
Corns
Countersign, The
Corsican, The
Crafen, Der
Curfew Must Not Ring To-Night
Dog und der Lobster, Der
Drafted
Drummer, Der
Dying Soldier, The
East Freight
Gambler's Wife, The
Georga Washingdone
Gladness
Gone Agin-Finnigin
Guilty or Not Guilty
Hamlet's Soliloquy on Death
How the Gates Came Ajar
How We Tried to Whip the Teacher
I'll Take What Father Takes
I Must Be There on New Years Day
I Wonder What They'll Do Next
Kelly's Dream
Lifeboat, The
Life is but a Game of Cards
Little Hero, The
Little Worries
Mahoney's Fenian Cat
Man with a Broken Shoestring
McCloskey's One-eyed Goat
McGinniss
McGonigal's Game Dog
Mispah
Montgomery Guard, The
Mulcahey's Sooner Dog
Mule Stood on the Steamboat Deck
Nobody's Mule
Oak und der Vine, Der
Old Sayings
Old Tobacco Box
'Ostler Joe
Paddy's Excelsior
Papa's Letter
Pat's Mistake
Patter of der Shingle, Der
Plumber, Der
Pride of Battery B, The
Psalm of Life
Puzzled Census-taker, The
Puzzled Dutchman, The
Quarter in Your Pocket, The
Quit Your Foolin'
Richmond on the James
Schneider's Boy
Shacob's Lament
Shpider und der Fly, Der
Since Casey Slugged the Ball
Smack in School, The
Sullivana vs. Sylvio Sylvesto
Sword of Bunker Hill, The
Tramp, The
Volunteer Organist, The
What Became of a Lie
What Biddy Said in Police Court
Whisperin' Bill
Why Should the Spirit of Mortal
Wolf at the Door, The [Be Proud
Woodman Spare that Tree
Yacob's Dribulations
Zwei Lager
ADDRESS ALL ORDERS DIRECT TO WEHMAN BROS., 126 PARK ROW, NEW YORK .
WEHMAN BROS.' NEW BOOK OF TOASTS
No. 2 CONTAINING No. 2
A Collection of 350 Choice Toasts FOR USE ON ALL OCCASIONS PRICE, 10
CENTS.
A FEW SAMPLES OF WHAT THIS NEAT LITTLE BOOK CONTAINS ARE PRINTED HERE
BELOW :
Here's to the breeze that blows the skirt Of girl, revealing ankles
pert. Here's to angels in
the skies, That blows the dust in bad man's eyes.
Give me a brook, a summer night, A shady nook by moon's soft light; A
girl who's sweet and fair
to see- And you can leave the rest to me.
Here's to girls of every station, Throughout our Yankee nation.
Here's to the girl with ruby lips, And may she hold full sway; Her lips
may be red and hard to beat-
But I'll put mine against them any day
Here's to the girl with a peek-a-boo waist, And the "clock"
within her stocking; Supposing
I were to ask her the time, Would it be so very shocking?
This is just the book you need when you are out at an Evening Supper,
Party, or with a crowd of the
boys having a good time. It contains 350 Toasts entirely different from
what you will find in
our 350 Toasts No. 1.
Better send 20 cents and get both numbers.
ADDRESS ALL ORDERS DIRECT TO WEHMAN BROS., 126 PARK ROW, NEW YORK .
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