Dancing and its relations to education and social life

Front matter

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Chapter I

PERSONAL. Page Disappointment after Teaching Many Years.—The Cause.—Traditional Belief in the Usefulness of the Dancing-lesson.—Object of Publication.—Dedication.—Warrant for Opinions on Musical Matters.—Suggestions to Parents.— What a Great Journal Quotes from the London Zancet.—Two Methods.—Distinction between them.—Dance Teacher and Dancing-master...............005 I

CRARTICR: II: ; INTRODUCTION.

_ Universal Pleasure in Motion.—What the Man of Science Says.— What the Poet Says.— Power of Rhythm in Man’s own Creations. — Every Nation and Tribe has its Dance. — Persistent Love of the Pleasure.—Irresistible Power of the Law.—Good People, in a Measure, Answerable for the Sinfulness of Dancing. —What they Ought to Do.—Christian Associations,—Dancing in our Public Schools.—Nationality of Motion.—Three Classes of Dancing-masters and their Influence.—Cause of the Deterioration in our Ballet-Dancing.—A Revolution in Social Dancing.— Cause of the Deterioration in Teachers.—What Followed the Introduction of the Polka.—Undue Attention Given to the Cul-

Bragonat Muscle.—Duty of Parents... 6s. jeacs nace cease iees 8 by CHAPTER III. a MANNERS, OR MORALITY OF MOTION. = Manners.—Morality of Motion—Not Truly Valued.—The Opin- ‘ ion of a Great Philosopher.—Easy to Learn.—Foot-ball Hab- 9) its.—Gentleman in our Exchanges.—Effect of Habits.— Little iv CONTENTS.

Page Crimes before Greater. — Effect of Boxing, Wrestling, etc. —A Strong Influence Required.—T wo Examples.— What Good Man- OTS AIO es a cee Nae wee ce sine taseee + (wine an « 20

CHAPTER IV.

POSITIONS AND MOTIONS.

Positions—Dodworth Method.—Six Radical Motions........... 24

CHAPTER V.

GENERAL DIRECTIONS APPLICABLE TO ALL ROUND DANCES.

Absurdity of the Notion that one Cannot Learn without a Partner. —First Duty of Beginners— When Two may Dance Together.— Elements of Good Dancing.—Best Examples.—Dancers with but One Element.—A Prevalent Mistake.—Another Fact.—Only the | Theory.— Who Complain.—An Amusing Incident. — Accent, Music, and Dancing Inseparable.—Natural Pulsation.—Who it is that Pooh-pooh Dancing.—Guiding.—Music for Dancing.— A Few Suggestions.—Metronome:s.. «.. i svse ssc. oes eee - 32

CHAPTER VI.

GALOP,

Motions, Time, Accent.—Method of Practice—How to Turn to Right and Left.—To Change.—Deux Temps.—Why it should be Named the Ignoramus Waltz.—Motions.—Time and Accent.— Trois Temps.—Four-slide Galop.—An Agreeable Change..... 44

CHAPTER VII.

RACKET AND POLKA, AND THE VARIOUS DANCES FORMED FROM THE SAME MOTIONS.

Motions, Time, and Accent.—Not a Round Dance.—Racket Waltz, or the “Society.”—Two-slide Racket.—Three-slide Racket to Galop and Waltz.—Polka Redowa.—Polka Mazurka.—Esmeralda.x—A Pleasant Variation.— Bohemian.— Combination.—Old and New Varsovianna.—Old and New Five-step.—A Curious Ilustration.—-Schottische «02.00 sess «-+s0sce «es oes . 50

CHAPTER VIII.

WALTZ AND KNICKERBOCKER, Survival of the Fittest—A Picture of Good Waltzing.—Another Picture.—Malaria.—Motions, Time, and Accent.—Turning and

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CONTENTS. ~:

Page Pursuit.—Six Examples of Accent.—Length of Motions.—Starting.—Knickerbocker.—Its Origin—Knickerbocker to the Waltz and Galop.—Redowa.—Its Origin—Hop Waltz.—Boston..... 62 CHAPTER IX.

WALKING.—SALUTATIONS.

Use of the Arms.—Walking.—Salutations..........ceeeeceeeees 74 CHAPTER xX.

QUADRILLE AND OTHER FIGURE DANCES (SO-CALLED SQUARE DANCES).

Manners in this Dance.—Want of Good-breeding.—Consequence of Attention to these Dances.—A Hint on Etiquette.—Motions, Time, and Accent.—Formation.—Head of Room.—The Figures as Danced at Present.—The Original Form.—Modifications Introduced.—Extra Figures.—Polo.—Caledonians............00+ 79 CHAPTER XI.

LANCERS.

As Now Danced.—The Original, and the Changes Introduced.— Saratoga Lancers.—New York Lancers..............ee000 Spa kod CHAPTER XII.

COURT QUADRILLE (HUNGARIAN “KORTANZ”)...,+000- 113 ‘ CHAPTER XIII.

MINUET.

Tradition.—Secondary, not Primary, Fact Recognized.—Elimination of Slow Movements.—Motions.—Figures ............. wean k25 CHAPTER XIV.

VIRGINIA REEL.—POLONAISE, Remarks.—Motions.—Figures..............4. Enea ae Cily hae aie 136

CHAPTER XV, DANCE MUSIC.

Music and Musicians..... SSC AREER CER OD TUE EEE Reve ay 140 a CONTENTS.

CHAPTER XVI. Page COTILLION OR GERMAN.

Origin of the Name German.— When Introduced.—Is an Epitome of Modern Dancing.—Its Advantages.—Duties and Etiquette.— Arrangements.— Who May Join in the Dance.—The Conductor or Leader, and his Duties and Hardships.—The Music.—Two Hundred and Fifty Figures... 02.3 0....s:.5000s0088 00s een 145

Conclusion

TO TEACHERS OF DANCING.

Personal.—Dancing no Evidence of Ability to Teach.—A Great Trust. — Public Opinion must be Improved. — A Conspicuous Example of this Necessity—Fashion.—Dancing-master’s Mistake.-—A Trade or a Profession —A Frequent Remark.—Confusion of Terms.—Examples in Society.x—Natural Dancers.—A Curious Case of Moral Obliquity.x—Obstacles to Good Teaching.—The Failure of Private Classes.—A Teacher’s Qualifications. — Failure of Modern Education.— Practice More than Rules,—A Last Word... 2.3.0.0 33 deees +e + sien 264

ILLUSTRATIONS OF POSITIONS IN DANCING....274-277

AND ITS RELATIONS TO

EDUCATION AND:‘SOCIAL LIFE.

Disappointment after Teaching many Years.—The Cause.— Traditional Belief in the Usefulness of the Dancing-lesson. —Object of Publication —Dedication.—Warrant for Opinions on Musical Matters.—Suggestions to Parents.—What a Great Journal quotes from the London Lancet.— Two Methods.—Distinction between them.—Dance Teacher and Dancing-master.

AFTER teaching for many years, ever striving for the best methods, I found myself far from accomplishing all that I thought it my duty to accomplish as an instructor in dancing. It was noticeable that many young persons of excellent education, in a general sense, and surrounded by circumstances most favorable to the cultivation of good taste, were in movement and manner less graceful than was to be expected. I keenly felt these failures among my own pupils, believing that there was much beyond mere skill in dancing that ought to be gained through or by means of the dancing-lesson; for I am fully in accord with the traditional belief that dancing should be superior to all other exercises in its beneficial effect upon car- I riage and manner. Knowing that this belief is based upon a truth, I have endeavored to discover and place before the reader the causes which have operated in later years to impair the usefulness of instruction in dancing. The struggle to overcome the difficulty has been a long one; but, I may say, not without a measure of success on my part. The hope of aiding those who are now striving to gain the same ends, and, so far as was in me, to meet an evident desire for the establishment of a general standard among teachers— the existence of which is shown in the formation of societies to promote uniformity—has encouraged me to publish this work. Its pages bear ample evidence of the fact that little may be claimed for it in a literary point of view; I believe, however, they will testify to honest intentions. Such as it is, I dedicate the work to those who are interested, with an intense desire that it may assist in rescuing our art from false teaching and unjust prejudice. Lest it be thought presumption in me to offer opinions on musical matters, it is well to say that my early education in that art gives me warrant for doing so.

To Parents.

Select your teacher with great care and allow him to teach without interference. If you cannot trust him, it would be better for your children never to learn to dance than to be placed under his influence.

When the hope for promotion is used as a stimulant to effort, be cautious about removing that incentive, by requesting or insisting upon promotion before the proper time arrives, of which the teacher should

PERSONAL. 3 be the best judge. Promotion is not always progress.

The imitative ability of children, together with a strong feeling for rhythm, enables many to “pick up” the succession of motions which form a dance, who yet never acquire the art of making those motions in a graceful manner. A belief is unfortunately too prevalent, that gracefulness is wholly due to nature; but the idea is as far from the truth as that expression in language and music is wholly natural. The nearest approach to ideal perfection, in all art, is where the greatest natural talent has received the highest cultivation; but, in the absence of great gifts, ordinary ability may be much improved by training.

With children, the effort to move gracefully produces a desire also to be gracious in manner, and this is one of the best influences of a dancing-school. The frequently recurring circumstances of their social intercourse impress their. minds practically with the value and beauty of politeness. To secure the greatest benefit, children should begin lessons in dancing at an early age; as a general rule not later than five.

It is true, they may not at that age know how to observe; but the fascination of dancing creates in them so intense a desire to learn that every faculty is awakened, and this awakening develops concentration and observation with wonderful rapidity. The pleasure experienced while forming these habits of mind may be said to give them a permanent character not easily gained at other times, without taxing the mental faculties,-and thus the training serves as an excellent preparation for the acquisition of other knowledge.

When good motions are established, children should be allowed to take lessons for a time every year, so that physical growth may not create angularity. The dancing-lessons will serve as a wholesome relief to the activities of the brain when the child is studying with that intensity necessary to acquire a modern education.

In many cases there will come a period when it will appear as though all previous benefit had been lost; but after this is passed the results of practice will appear more clearly than ever.

Dancing in well-ventilated rooms, under proper regulation, is an excellent and healthful physical exercise, from which the most feeble may receive benefit. Physiologists inform us that exercise is doubly beneficial when accompanied by exhilaration of mind. This being true, where can the two be so happily united as in dancing to good music amid pleasant associations ?

“ The Exercise of Dancing.*

“We have lately met with some valuable remarks on this subject in a well-known medical journal (7he Lancet), by a Mr. Sheldrake, a surgeon who has devoted the greater part of a long life to the cure and prevention of bodily weaknesses and distortions in the young, and who has been led by experience to regard dancing as a most material branch of the physical training of youth.

“ Dancing (says Mr. Sheldrake) is one of the most healthy, as well as one of the most pleasing, amusements that can be

PERSONAL. 5 practised by the young. If it is learned from those who are well qualified to teach it, and practised, as it ought to be, consistently with the instructions given, it will contribute more to improve the health, as well as the form of the human frame, than any other exercise.

“Mr. Sheldrake gives several examples of persons trained upon these initiatory principles to the profession of dancing, who have lived in health to a great age. ‘This,’ says he, ‘is not the chance lot of a few; for I have, through life, been accustomed to see many persons of the same profession; I have communicated my own observations to many others, and all have agreed in remarking that those who follow this profession have, very generally, excellent health, which very many of them carry into extreme old age. This indisputable fact can only be accounted for by supposing that the preparatory exercises which these persons go through are a modification of what I have called regulated muscular tension, or action, and the early and constant practice of which lays a firm foundation for that high health which accompanies them through life. It is upon the same principle that a soldier is never seen with spinal curvature, or other personal deformity, or a stage dancer of either sex with a deformed person; it is, perhaps, impossible that such things should exist, for the plain reason that the exercises which they begin to practice early in life, and continue regularly through its whole course, render it impossible for them to become so.

“<The inference to be drawn from these incontrovertible facts is, that if we, in very early life, teach young children to practise similar exercises, and follow them steadily afterwards, we shall confirm them in excellent health, and prevent the accession of those evils which so often cause deformity to the figure and destruction to the constitution, at later periods of life. I do not propose to make every boy a soldier, or every girl a dancer upon the stage, but to adopt the principles by the application of which those persons are trained'to the successful practices of their several occupations, and so to modify them that they may qualify other classes of society to follow thezr different pursuits’ ”

Angularity is a deformity, more frequently caused by habit than by nature; and when the matter is neglected until the age of fourteen or fifteen, boys rarely correct such habits; their exercises, plays, and games, with the prevalence of a silly but general conviction among boys of that age, that it is effeminate to be graceful and manly to be awkward, have greater influence in strengthening these angular habits than the efforts made on the other side can have in correcting them. In the case of boys, therefore, it is important to form good habits of motion and to encourage correct ideas upon the subject at an early time of life, as a shield against the coarser influences with which they find themselves surrounded at school and college. |

Under favorable circumstances girls at this age accomplish much, but it must be by great effort. The advantage is always with those who began their training when young.

Two methods are used in teaching. One is founded upon the theory that the simple practice of various dances creates gracefulness. The other rests upon the conviction that the ¢vazuzug incident to the learning of those dances is the source of all benefit received.

Those whose opinions coincide with the first view allow their children to learn a variety of dances, making expertness of movement outweigh every other consideration; not recognizing the important fact that one may waltz in such a way that all bad habits of motion and manner will be confirmed by the exercise. A polka may be so practised that ev-

PERSONAL. 7 ery angularity of motion will be increased. A galop may show in every movement an entire absence of good taste. The motions made, while executing the figures of the Lancers, may be so awkward as to be seriously injurious to a growing child. As these dances may be practised, so may they be taught. Should we expect good to spring from practising the bad? |

Those who accept the second theory are of the same opinion as myself, which is, that when learning dances, pupils should also be taught what it is that constitutes true gracefulness, and educated to an appreciation of the highest expressions of intelligence and culture that can be given by means of motion. With this knowledge, which through familiarity gradually becomes an instinct, there are few who fail to express refinement in their own motions and manner.

Those whose teachings are based upon the first idea are “‘Dance Teachers.” Their work is not of the same nature as that of the true dancing-master, nor should they be confounded with those who are governed by the sounder doctrine. Preparation for the fulfilment of the duties required from the first is limited simply to learning the dances of the day; while, in the case of the second, the study of half a lifetime, in all that relates to gracefulness in sculpture, painting, and music, scarcely enables a teacher to acquit himself with justice to his pupils.

Introduction

Universal Pleasure in Motion.—What the Man of Science Says. _ —What the Poet Says.—Power of Rhythm in Man’s own Creations.—Every Nation and Tribe has its Dance.—Persistent Love of the Pleasure.—Irresistible Power of the Law.—Good People, in a Measure, Answerable for the Sinfulness of Dancing.— What they Ought to Do.—Christian Associations.— Dancing in our Public Schools.—Nationality of Motion.— Three Classes of Dancing-masters and their Influence. Cause of the Deterioration in our Ballet-Dancing.—A Revolution in Social Dancing—Cause of the Deterioration in Teachers.—What Followed the Introduction of the Polka. —Undue Attention Given to the Cultivation of Muscle.— Duty of Parents.

MOTION is one of the universal sources of pleasure among mankind, a.pleasure which increases with accumulating intelligence.

The scientist rejoices in it when gathering knowledge through his great telescope, reaching out towards unthinkable distances where motion is observed in awful grandeur, almost paralyzing the mind with conceptions of its stupendous rhythm; or when engaged in the minute investigations of the microscope, where an infinity of motion baffles imagination.

The poet, in rapturous words, tells of its beauty in the heaving swell of an ocean, in the grand procession

1NTRODUCTION. G of the clouds, and in their chasing shadows. The rush of the mountain torrent and the placid flow of a river alike excite his imagination to fervor. He sees a charm in the yielding of the oak to violence, the graceful swaying of the palm, or the gentle undulation of the grain-field, when fanned by a summer’s breath. The sweep of an eagle's flight and.the dazzling movements of the humming-bird afford themes for the expression of his delight.

Motion is universal, and man is endowed with capacity to appreciate its beauty and rhythm. Should we doubt, then, that the pleasure of motion is part of man’s nature?

How strong the effect of rhythm is upon the human mind is shown in man’s own creations; what is it that fascinates us when gazing upon a fine piece of machinery, with its rhythmical pulsations? Notice the irresistible effect of rhythm when aided by melody and harmony in the stirring strains of a military band; or of rhythm without music, as in a drum corps; who fails to keep step? or even without this, how thrilling to hear the steady tramp, tramp, tramp of a large body of men! That nearly every nation and tribe upon the face of the earth has its dance is further evidence of the innate love of the human race for rhythmical motion. In our own country, notwithstanding the condemnations and exhortations of many well-meaning people, repeated for years and still recurring, the dance, or rhythmical motion, maintains its hold upon favor as one of the chief amusements of the young; so, no doubt, it will ever do; the instinct is so fully a part of our natures 1% that even those gray-haired ones, who so strongly condemn this motion to music, may be seen swaying to and fro in exact rhythmical accord, and with evident satisfaction, while singing one of the good old tunes, such as ‘‘ From Greenland’s Icy Mountains,” or “Sound the Loud Timbrel,” thus proving in their own persons the irresistible power of this benign law.

In this case, as in many others, a good is. condemned for its abuse; for certainly to make pleasant motions | to good music cannot be szzful. It is said, however, that dancing leads to many things that are sinful, which is often too true; but these good people are in a measure answerable for this. They have blocked up nearly every road, except the one leading to vice. Would it not be well, now, to open a few paths through this pleasure-ground which would lead to virtue?

On all occasions, when numbers of persons are brought together by the attraction of dancing, our rooms are so crowded that there is scarcely space in which to stand with comfort. The air is vitiated by burning gas, and the exhalations from innumerable lungs at full play. Excitement is in every quivering atom of the atmosphere. The dancers are in constant collision, all feeling it to be a necessity to shrink into the smallest possible space—many innocent ones doing so unconsciously—uwntil positions of indelicacy become no longer offensive. It may be truthfully asserted, that our young people of to-day are as virtuously and modestly inclined as those of any period; and when space is sufficient, fashions of indelicacy in dancing are soon abandoned.

INTRODUCTION. II

- Would it not, therefore, be more in accordance with sound wisdom for the elder ones to provide those whose nature it is to dance with places and opportunities for the exercise of this pleasure, amid proper circumstances, and not compel them to seek it where they are too frequently surrounded by temptations destructive alike of health and morality? \

What reasonable objection would there be to every “Young Men’s Christian Association” having weekly meetings for the enjoyment of this pleasure? Surrounded by parents and friends, the happiness experienced by the young people would not make them less active in their Christian duties. The community could be taught by example that extravagance of expense, suppers, late hours, and other dissipations, have no necessary relation to dancing.

The writer’s own experience, for more than fifty years, abundantly justifies him in saying that profound impressions may be made upon children during the happy moments of their dancing -lessons. This being so, why should we not take advantage of the fact as a means for their moral elevation? In our public schools a daily lesson in dancing might be given as a recreation, the right of attendance upon which could be made a reward for good conduct. All children are fond of this exercise, and for the sake of its enjoyment would readily submit to that necessary lesson—subordination.

The two sexes being brought together, all the courtesies of social intercourse could be insisted upon, making politeness and consideration for others habitual. The lessons would afford ever-recurring occasions when children might be made to feel, from immediate practice, how necessary and useful this is; and that in thus treating others, at all times and in all things, with kindness and courtesy, they truly fulfil the precepts of the Golden Rule.

Surely, the daily practice of these social virtues would have a softening effect, and produce a better result than sending the children into the yard: or play-room for recreation, as it is calied, which usually - means to romp and practice rudeness, the strong abusing the weak, and all taking daily lessons in tyranny, imposition, and turbulence; the outcome of which is too often lawlessness in later life. The sight of two or three hundred young children enjoying themselves, under the influence of their better feelings, and giving expression to their happiness in orderly motion, possibly to their own songs of joy, could not be otherwise than acceptable to a kind father, either on earth or in heaven.

It is interesting to observe the effect nationality has upon human motion. ‘The gesticulations of the French and those of the Germans are as unlike as are their two languages. The Spanish, Italians, and French have similar motions, yet those of each are so far peculiar as to be easily recognized. The Jewish people furnish a remarkable example of this persistency of race distinctions in motion; for, although mingling with all nations, they retain their peculiarities. As individuals of all nations rise in culture and intelligence, less and less of these peculiarities is observable. The dancing of each nation, when mov-

INTRODUCTION. 13 ing to the same waltz, is generally marked by peculiarities that are not due so much to any difference of physical form as to early habit. How important is it, therefore, that good habits of motion should be established early in life! There arises the question— how can this be secured ?

One of the great authors of the last century said that ‘They move easiest who have learned to dance.” The saying is not so true to-day as it was in his time. The principal influences that have produced the change may be traced in the following pages; others are mentioned under the head of “ Minuet.”

The first revolution drove from France many persons of high rank, who took refuge in the larger cities of Europe and America, where their accomplishments could be made available in gaining a livelihood. Among the nobility, at that time, dancing was considered an important element in forming the carriage and manners of a lady or gentleman; consequently, great attention was given to the subject, and all were thoroughly educated in the art. In their days of adversity many had recourse to the teaching of this accomplishment. Thestately manners, refined motions, and graceful dancing of these noblemen were reflected in their pupils, having great influence in forming their social manners. They were followed by another class, purposely educated as teachers of social dancing, who, having been under the instruction and influence of their predecessors, continued all their excellent methods. It must be’ observed that the teachings of both classes had a close relation to the training of those who were to move in private

1A DANCING.

life; not so with a third class, who, having been educated for the ballet, were removed from these inftuences. They were at one time very popular as teachers, because of a general failure to apprehend the difference between ballet and social dancing, which is as wide as that between operatic and social singing, or the pantomime and conversational motions. The exercise required for these artists (for many were truly such) to gain the strength, endurance, and largeness of motion necessary in their department of dancing, in many cases, produced an excess of action unsuited to private life; they were consequently conspicuous at all times for exuberance of motion and manner, which was burlesqued in the well-known grotesque dancing-master of the stage. To them is due the acceptance of the saying, “‘ He moves and has the manners of a dancing-master.”

Little else need be said to suggest the unfitness of their teachings for use in forming the habits of motion necessary for private life. The exercise necessary to accomplish the difficult motions (steps) used in the quadrille, had a beneficial effect in giving elasticity to the muscles, free action to the larger joints, and balance to the body, and had a large share in producing that dignified carriage so often mentioned as belonging to the lady and gentleman of the old school. The effect of the methodical training of these three classes of teachers was shown in habits of precise and graceful motions, and the effort in their pupils to improve themselves taught them to recognize true grace in others. This education is, in a measure, lost to the present generation, which is

INTRODUCTION. 15 made conspicuously evident in our ballet-dancing. Among those who follow any art as an occupation, few can resist the tendency to yield to the taste of those who praise.

In later years, it will be noticed that violertce of motion, high jumping—the jumper showing in every movement how great is the effort—are most &pplauded; as a consequence, gymnastics have taken the place of graceful dancing.

Not so when such artists as Vestris, Cerito, Fanny Ellsler, and Taglioni were in favor. It was not gymnastics which so bewitched the people of their day; it was exquisite refinement of motion, gracefulness in its highest expression. Such art would scarcely be recognized to-day.

With the introduction of the waltz, galop, polka, and other round dances, a complete revolution in social dancing took place. These were so easily learned that education in motion was deemed unnecessary ; simply to make the motions required was quite sufficient, manner becoming entirely secondary. Many learned from one to the other, frequently transmitting their own mistakes. And as it is true that many of our choice plants and flowers, when left without continued cultivation, return to their simple forms— so it is with human beings; the grotesque is the original form of pleasure given by motion; and so to the grotesque we naturally return, unless sustained by education. The diminishing importance of the dancing-lesson, as part of physical and moral education, was followed by a more serious loss to the world; for it lowered the position of those who made the teaching of the artavocation. In consequence, many who were fitted for it by nature, education, and social experience, were deterred from assuming its duties; and as the older teachers passed away, their places were taken by those who were neither by training nor education prepared for so responsible a position. Not having had the advantage of the teachings and association of the older ones, they were not aware of the proper nature of their duties; but they were able to waltz expertly, and the teaching of waltzes and a few other dances was all they believed to be required from them; they were, therefore, simply dance teachers, not teachers of motion and manner, which is the definition of dancing-master as the term was formerly understood. Conscious of their want of knowledge in regard to propriety of motion, they were ever ready to adopt the eccentricities introduced by the inexperienced young people in society, instead of giving direction to their judgment and taste. What would we think of a teacher of vocal music who, hearing many persons sing with a nasal tone of voice, should instruct his pupils to do the same, accepting this as fashionable, and not asserting good taste by correcting the ’ mistake? It is to this absence of better instruction that we must attribute the toleration of indelicate motions and manner among those whose education, in all other departments, is satisfactory. -

About the year 1840 the polka was taken from the peasants of Germany and adopted by the fashionable society of Paris. From Paris it was disseminated all over the civilized world, with consequences little anticipated at the time; for the introduction of this

INTRODUCTION. iy dance had a serious effect in lowering the respect formerly given to good motions and manner, for the following reasons:

In Paris the rage to learn this dance became so general that Cellarius was compelled to employ many ballet-girls to assist in teaching. This method bes came so very popular that other places were established, where this was offered as the chief attraction, not only in Paris, but in all the large cities of Europe. Subsequently places were opened in New York, multiplying rapidly in many of our large cities. The managers of these places were not masters of motion, but simply dance teachers, and had very questionable taste in their methods. The young women willing to be employed were naturally those to whom the small amount paid was of importance; they, therefore, exercised little, if any, improving influence upon those who practised with them. But, being able to dance expertly, and always deeming it part of their duty to be as agreeable as possible to those who came to learn, they made the method very attractive at one time to our young men—the freedom of manners and absence of all attempts to practise the amenities of social life being to some natures very enjoyable. Small rooms were generally used, so that the crowding and squeezing of the parlor were repeated, with surroundings not conducive to delicacy, to say the least. Many young men became very expert by this practice; but in gaining skill they lost the modesty and innocence that should accompany the pleasure.