See also:

• DANCE
• DANCE (Fr. danse; of obscure origin, connected with Old High Ger. danson, to stretch)

DANCE (Fr. danse; of obscure origin, connected with Old High Ger. danson, to stretch)  . The See also:

• TERM

term " dancing " in its widest sense includes three things:—(1) the spontaneous activity of the muscles under the See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence of some strong emotion, such as social joy or religious exultation ; (2) definite combinations of graceful movements performed for 'the See also:

• SAKE

sake of the See also:

• PLEASURE (through Fr. plaisir from Lat. placere, to please; Gr. rlbovii)

pleasure which the exercise affords to the dancer or to the spectator; (3) carefully trained movements which are meant by the dancer vividly to represent the actions and passions of other See also:

• PEOPLE

people . In the highest sense it seems to be for See also:

• PROSE

prose-gesture what See also:

• SONG

song is for the instinctive exclamations of feeling . Regarded as the outlet or expression of strong feeling, dancing does not require much discussion, for the See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general See also:

• RULE

rule applies that such demonstrations for a See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time at least sustain and do not exhaust the flow of feeling . The See also:

• VOICE (Fr. voix, from Lat. vox)

voice and the facial muscles and many of the See also:

• ORGANS

organs are affected at the same time, and the result is a high See also:

• STATE
• STATE, GREAT OFFICERS OF

state of vitality which among the See also:

• SPINNING (from O. Eng. spinnen, to spin, cf. Ger. spinnen, &c., the Teut. root is seen, to draw out, cf. span, spider)

spinning Dervishes or in the ecstatic See also:

• WORSHIP (i.e. " worth-ship," O. Eng. weor8scipe)

worship of Bacchus and See also:

• CYBELE, or CYBEBE (Gr. Ku/3X, Ku,(3i7sn)

Cybele amounted to something like madness . Even here there is traceable an undulatory See also:

• MOVEMENT

movement which, as See also:

• HERBERT (FAMILY)
• HERBERT, GEORGE (1593-1633)
• HERBERT, HENRY WILLIAM
• HERBERT, SIR THOMAS (1606-1682)

Herbert See also:

• SPENCER
• SPENCER, HERBERT (1820-1903)
• SPENCER, JOHN CHARLES SPENCER, 3RD EARL (1782-1845)
• SPENCER, JOHNPOYNTZ SPENCER
• SPENCER, WILLIAM ROBERT (1769-1834)

Spencer says, is " habitually generated by feeling in its bodily See also:

• DISCHARGE (adapted from the O. Fr. discharge, modern decharge, from a med. Lat. discargare, to unload, dis- and earn care, to load, cf. " charge ")

discharge." But it is only in the advanced or volitional See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage of dancing that we find See also:

• DEVELOPED

developed the essential feature of measure, which has been said to consist in " the alter-nation of stronger See also:

• MUSCULAR

muscular contractions with weaker ones, an See also:

• ALTERNATION (from Lat. alternare, to do by turns)

alternation which, except in the cases of savages and See also:

• CHILDREN, LAW RELATING TO

children, " is compounded with longer rises and falls in the degree of muscular excitement." In analysing the state of mind which this measured dancing produces, we must first of all allow for the pleasant glow of excitement caused by the excess of See also:

• BLOOD

blood sent to the See also:

• BRAIN (A.S. braegen)

brain . But apart from this, there is an agreeable sense of uniformity in the See also:

• SUCCESSION (Lat. successio, from succedere, to follow after)

succession of muscular efforts, and in the spaces described, and also in the See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period of their recurrence . If the steps of dancing and the intervals of time be not precisely equal, there is still a pleasure depending on the gradually in-creasing intensity of See also:

• MOTION (Lat. motio, from movere, to move)
• MOTION, LAWS OF

motion, on the undulation which uniformly rises in See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order to fall . As Florizel says to Perdita, " When you do See also:

• DANCE
• DANCE (Fr. danse; of obscure origin, connected with Old High Ger. danson, to stretch)

dance, I wish you a See also:

• WAVE

wave of the See also:

• SEA (in O. Eng. sae, a common Teutonic word; cf. Ger. See, Dutch Zee, &c.; the ultimate source is uncertain)
• SEA, COMMAND OF THE

sea " (See also:

• WINTER, JOHN STRANGE
• WINTER, PETER (c. 1755-1825)

Winter's See also:

• TALE (O.Eng. talu, number, account, story; the word is common to many Teutonic languages; cf. Ger. Zahl, number, Erzahlung, narrative, Du. taal, speech, language)

Tale, iv . 3) . The mind feels the beauty of emphasis and See also:

• CADENCE (through the Fr. from the Lat. cadentia, from cadere, to fall)

cadence in muscular motion, just as much as in musical notes . Then, the figure of the dance is frequently a circle or some more graceful See also:

• CURVE (Lat. curvus, bent)

curve or See also:

• SERIES (a Latin word from serere, to join)

series of curves,—a fact which satisfies the dancer as well as the See also:

• EYE
• EYE (O. Eng. edge, Ger. Auge; derived from an Indo-European root also seen in Lat. oc-ulus, the organ of vision (q.v.)

eye of the spectator .

But all such effects are intensified by the use of See also:

• MUSIC

music, which not only brings a perfectly distinct set of pleasurable sensations to dancer and spectator, but by the See also:

• CONTROL (Fr. contrdle, older form contre rolle, from Med. Lat. contra-rotulus, a counter roll or copy of a document used to check the original; there is no instance in English of the use of " control " in this, its literal, meaning)

control of dancing produces an inexpressibly sweet See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony of See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound and motion . This harmony is further enriched if there be two dancing together on one See also:

• PLAN
• PLAN (from Lat. planes, flat)

plan, or a large See also:

• COMPANY

company of dancers executing certain evolutions, the success of which depends on the See also:

• SEPARATE

separate harmonies of all the couples . The fundamental See also:

• CONDITION (Lat. condicio, from condicere, to agree upon, arrange; not connected with conditio, from condere, conditum, to put together)

condition is that throughout the dance all the dancers keep within their bases of gravity . This is not only required for the dancers' own enjoyment, but, as in the famous See also:

• MERCURY
• MERCURY (MERCU1uus)
• MERCURY (symbol Hg, atomic weight = 2oo)

Mercury on tiptoe, it is essential to the beautiful effect for the spectator . The See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea of much being safely supported by little is what proves attractive in the posturing See also:

• BALLET

ballet . But this is merely one condition of graceful dancing, and if it be made the See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief See also:

• OBJECT

object the dancer sinks into the See also:

• ACROBAT (Gr. ucpo0arsie, to walk on tiptoe)

acrobat . Dancing is, in fact, the universal human expression, by movements of the limbs and See also:

• BODY

body, of a sense of See also:

• RHYTHM (Greek pvBµds, from bap, to flow)

rhythm which is implanted among the See also:

• PRIMITIVE

primitive instincts of the See also:

• ANIMAL
• ANIMAL (Lat. animalis, from anima, breath, soul)

animal See also:

• WORLD

world . The rhythmic principle of motion extends throughout the universe, governing the See also:

• LAPSE (Lat. lapses, a slip or departure)

lapse of waves, the flow of tides, the reverberations of See also:

• LIGHT

light and sound, and the movements of See also:

• CELESTIAL, OR STELLAR

celestial bodies; and in the human organism it manifests itself in the automatic pulses and flexions of the blood and tissues . Dancing is merely the voluntary application of the rhythmic principle, when excitement has induced an abnormally rapid oxidization of brain See also:

• TISSUE (Fr. tissu, tissue, participle of tisser, Lat. texere, to weave)

tissue, to the See also:

• PHYSICAL

physical exertion by which the over-charged brain is relieved . This is primitive dancing; and it embraces all movements of the limbs and body expressive of joy or grief, all pantomimic representations of incidents in the lives of the dancers, all performances in which movements of the body are employed to excite the passions of hatred or love, pity or revenge, or to arouse the warlike instincts, and all ceremonies in which such movements See also:

• EXPRESS (through the French from the past participle of the Lat. exprimere, to press out, by transference used of representing objects in painting or sculpture, or of thoughts, &c. in words)

express See also:

• HOMAGE (from homo, through the Low Lat. hominaticum, which occurs in a document of 1035)

homage or worship, or are used as religious exercises . Although music is not an essential See also:

• PART

part of dancing, it almost invariably accompanies it, even in the crudest See also:

• FORM (Lat. forma)

form of a rhythm beaten out on a See also:

• DRUM (early forms drome or dromme, a word common to many Teut. languages, cf. Dan. tromme, Ger. Trommel: the word is ultimately the same as " trumpet," and is probably onomatopoeic in origin; it appears late in Eng. about the middle of the 16th century)

drum . Primitive and See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

Ancient Dancing.—In See also:

• TIGRE

Tigre the Abyssinians dance the chassee step in a circle, and keep time by shrugging their shoulders and working their elbows backwards and for-wards .

At intervals the dancers squat on the ground, still moving the arms and shoulders in the same way . The See also:

• BUSHMEN, or BOSJESMANS

Bushmen dance in their See also:

• LOW, SETH (1850- )
• LOW, WILL HICOK (1853- )

low-roofed rooms supporting themselves by sticks; one See also:

• FOOT

foot remains motionless, the other dances in a See also:

• WILD, JONATHAN (c. 1682-1725)

wild irregular manner, while the hands are occupied with the sticks . The Gonds, a See also:

• HILL
• HILL (0. Eng. hyll; cf. Low Ger. hull, Mid. Dutch hul, allied to Lat. celsus, high, collis, hill, &c.)
• HILL, A
• HILL, AARON (1685-175o)
• HILL, AMBROSE POWELL
• HILL, DANIEL HARVEY (1821-1889)
• HILL, DAVID BENNETT (1843–1910)
• HILL, GEORGE BIRKBECK NORMAN (1835-1903)
• HILL, JAMES J
• HILL, JOHN (c. 1716-1775)
• HILL, MATTHEW DAVENPORT (1792-1872)
• HILL, OCTAVIA (1838– )
• HILL, ROWLAND (1744–1833)
• HILL, SIR ROWLAND (1795-1879)

hill-tribe of Hindustan, dance generally in pairs, with a shuffling step, the eyes on the ground, the arms See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close to the body, and the elbows at an See also:

• ANGLE (from the Lat. angulus, a corner, a diminutive, of which the primitive form, angus, does not occur in Latin; cognate are the Lat. angere, to compress into a bend or to strangle, and the Gr. ayKOS, a bend; both connected with the Aryan root ank-, to

angle with the closed See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand . Advancing to a point, the dancer suddenly erects his See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head, and wheels See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round to the starting point . The See also:

• WOMEN

women of the Pultooah tribe dance in a circle, moving backwards and forwards in a See also:

• BENT
• BENT (E1. BENI)
• BENT, JAMES THEODORE (1852–1897)

bent posture . The See also:

• SANTAL (or SONTHAL) PARGANAS, THE

Santal women, again, are slow and graceful in dance; joining hands, they form themselves into the arc of a circle, towards the centre of which they advance and then retire, moving at the same time slightly towards the right, so as to See also:

• COMPLETE

complete the circle in an See also:

• HOUR

hour . The Kukis of See also:

• ASSAM

Assam have only the rudest possible step, an awkward See also:

• HOP (Ger. Hopfen, Fr. houblon)

hop with the knees very much bent . The See also:

• NATIONAL

national dance of the Kamchadale is one of the most violent known, every muscle apparently quivering at every movement . But there, and in some other cases where men and women dance together, there is a trace of deliberate See also:

• OBSCENITY (from the adjective " obscene," Lat. obscenus, evil-looking, filthy)

obscenity; the dance is, in fact, a See also:

• RUDE, FRANCOIS (1784–1855)

rude See also:

• REPRESENTATION

representation of sexual See also:

• PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

passion . It has been said that some of the Tasmanian corrobories have a phallic See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design . The See also:

• YUCATAN

Yucatan dance of naual may also be mentioned . The Andamans hop on one foot and See also:

• SWING, DAVID (1830-1894)

swing the arms violently backwards and forwards .

The See also:

• VEDDAHS, or WEDDAHS (from Sanskrit veddha, " hunter ")

Veddahs jump with both feet together, patting their bodies, or clapping their hands, and make a point of bringing their See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long See also:

• HAIR (a word common to Teutonic languages)

hair down in front of the See also:

• FACE (from Lat. fades, derived either from facere, to make, or from a root fa-, meaning " appear "; cf. Gr. cbatvstv)

face . In New See also:

• CALEDONIA

Caledonia the dance consists of a series of twistings of the body, the feet being lifted alternately, but without See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change of See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place . The Fijians jump See also:

• HALF

half round from See also:

• SIDE
• SIDE (mod. Eski Adalia)

side to side with their arms akimbo . The only modulation of the Samoan dance is one of time—a crescendo movement, which is well-known in the See also:

• MODERN

modern See also:

• BALL (in Mid. Eng. bal; the word is probably cognate with " bale," Teutonic in origin, cf. also Lat. falls, and Gr. 7raXXa)
• BALL, JOHN (1585-1640)
• BALL, JOHN (1818-1889)
• BALL, JOHN (d. 1381)
• BALL, SIR ALEXANDER JOHN, BART
• BALL, THOMAS (1819- )

ball-See also:

• ROOM

room, The Javans are perhaps unique in their distinct and graceful gestures of the hands and fingers . At a Mexican feast called See also:

• HUITZILOPOCHTLI

Huitzilopochtli, the noblemen and women danced tied together at the hands, and embracing one another, the arms being thrown over the See also:

• NECK (O. Eng. hnecca; the word appears in many Teutonic languages; cf. Dutch ride, Ger. Nacken; in O. E. the common word was heals; cf. Ger. Hals)

neck . This resembles the dance variously known as the See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek See also:

• BRACELET, or ARMLET

Bracelet or Brawl, "0 isms, or Bearsfeet; but all of them'. probably are to a certain extent symbolical of the relations between the sexes . Actual contact of the partners, however, is quite intelligible as See also:

• MATTER

matter of pure dancing; for, apart altogether from the pleasure of the embrace, the harmony of the See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

double rotation adds very much to the enjoyment . In a very old Peruvian dance of ceremony before the Inca, several hundreds of men formed a See also:

• CHAIN (through the O. Fr. citable, chcene, &c., from Lat. catena)

chain, each taking hold of the hand of the See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man beyond his immediate See also:

• NEIGHBOUR (O. Eng. neahgebiir, from Walt, " nigh," " near ")

neighbour, and the whole body moving forwards and backwards three steps at a time as they approached the See also:

• THRONE

throne . In this, as in the national dance of the Coles of See also:

• LOWER

Lower See also:

• BENGAL
• BENGAL, BAY OF

Bengal, there was perhaps a See also:

• SUGGESTION

suggestion of " 1'See also:

• UNION
• UNION (known locally as Union Hill and officially as Town of Union)

union fait la force." In Yucatan See also:

• STILTS

stilts were occasionally used for dancing . It seldom happens that dancing takes place without See also:

• ACCOMPANIMENT (i.e. that which " accompanies ")

accompaniment, either by the dancers or by others . This is not merely because the feelings which find See also:

• RELIEF

relief in dancing express them-selves at the same time in other forms; in some cases, indeed, the vocal and instrumental elements largely predominate, and form the ground-See also:

• WORK

work of the whole emotional demonstration . Whether they do so or not will of course depend on the intellectual See also:

• ADVANCEMENT

advancement of the nation or tribe and upon the particular development of their aesthetical sensibility .

A striking instance occurs among the Zulus, whose See also:

• GRAND

grand dances are merely the accompaniment to the colloquial See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

war and See also:

• HUNTING (the verbal substantive from " hunt "; O. Eng. huntian, hunta; apparently connected with O. Eng. hentan, Gothic hinpan, to capture, O.H.G. hunda,booty)

hunting songs, in which the women put questions which are answered by the men . So also in See also:

• TAHITI

Tahiti there is a set of national See also:

• BALLADS

ballads and songs, referring to many events in the past and See also:

• PRESENT

present lives of the ' Compare the Chica of See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

South See also:

• AMERICA

America, the Fandango of See also:

• SPAIN
• SPAIN (Espana)

Spain, and the Angrismene or la Fachee of modern See also:

• GREECE

Greece . See also Romaunt de la See also:

• ROSE
• ROSE (Rosa)
• ROSE, GEORGE (1744-1818)
• ROSE, HUGH JAMES (1795—1838)
• ROSE, WILLIAM STEWART (1775-1843)

rose, v . 776 . people . The fisherman, the woodsman, the See also:

• CANOE (from Carib. candoa, the West Indian name found in use by Columbus; the Fr. canot, boat, and Ger. Kahn, are derived from the Lat. canna, reed, vessel)

canoe-builder, has each his See also:

• TRADE (O. Eng. trod, footstep, from tredan, to tread; in M. Eng. the forms teed, trod and trade appear, the last in the sense of a beaten track)
• TRADE, BOARD OF

trade song, which on public occasions at least is illustrated by dancing . But the accompaniment is often consciously intended, by an See also:

• APPEAL

appeal to the See also:

• EAR (common Teut.; O.E. are, Ger. Ohr, Du. oor, akin to Lat. auris, Gr. ovs)

ear, to regulate and sustain the excitement of the muscles . And a close relation will be found always to exist between the excellence of a nation's dancing and the excellence or complexity of its music and See also:

• POETRY

poetry . In some cases the performer himself sings or marks time by the clanking of ornaments on his See also:

• PERSON, OFFENCES AGAINST THE

person . In others the accompaniment consists sometimes of a rude See also:

• CHANT (derived through the Fr. from the Lat. cantare, to sing; an old form is " chaunt ")

chant improvised by those See also:

• STANDING

standing round, or of music from See also:

• INSTRUMENTS

instruments, or of See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere clapping of the hands, or of striking one stick against another or on the ground, or of " marking time," in the technical sense . The Tasmanians See also:

• BEAT (a word common in various forms to the Teutonic languages; it is connected with the similar Romanic words derived from the Late Lat. battere)

beat on a rolled-up See also:

• KANGAROO

kangaroo-skin . The Kamchadales make a See also:

• NOISE (a word of doubtful origin; O. Fr. nogse or nose; Prov. nausa, which points to Lat. nausea, sickness, as the origin; others take Lat. noxia, harm, as the source)

noise like a continuous hiccough all through the dance .

The Andamans use a large hollow dancing-See also:

• BOARD (O. Eng. bord)

board, on which one man is set apart to See also:

• STAMP (from " to stamp," to strike or tread heavily, hence to impress, O. Eng. stempen, Du. stampen, Ger. stampfen, whence, O. Fr. estamper, mod. etamper)

stamp . Sometimes it is the See also:

• PRIVILEGE

privilege of the tribal chief to sing the accompaniment while his people dance . The savages of New Caledonia See also:

• WHISTLE

whistle and strike upon the See also:

• HIP

hip . The rude imitative dances of See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• CIVILIZATION

civilization are of extreme See also:

• INTEREST

interest . In the same way the dances of the Ostyak tribes (See also:

• NORTHERN

Northern See also:

• ASIATIC

Asiatic) imitate the habitual See also:

• SPORTS
• SPORTS, THE BOOK OF

sports of the See also:

• CHASE
• CHASE, SALMON PORTLAND (1808-1873)
• CHASE, SAMUEL (1741–1811)
• CHASE, WILLIAM MERRITT (1849– )

chase and the gambols of the See also:

• WOLF
• WOLF (Canis lupus)
• WOLF, FRIEDRICH AUGUST (1759-1824)
• WOLF, HUGO (1860-1903)
• WOLF, JOSEPH (1820-1899)

wolf and the See also:

• BEAR
• BEAR, BLACK
• BEAR, BROWN
• BEAR, GRIZZLY
• BEAR, ISABELLINE
• BEAR, WHITE

bear and other wild beasts, the dancing consisting mainly of sudden leaps and violent turns which exhaust the muscular See also:

• POWERS, HIRAM (1805-1873)

powers of the whole body . The Kamchadales, too, in dancing, imitate bears, See also:

• DOGS, ISLE OF

dogs and birds . The Kru dances of the See also:

• COAST (from Lat. costa, a rib, side)

Coast Negroes represent hunting scenes; and on the See also:

• CONGO

Congo, before the hunters start, they go through a dance imitating the habits of the See also:

• GORILLA (or PoNGO)

gorilla and its movements when attacked . The Damara dance is a mimic representation of the movements of oxen and See also:

• SHEEP
• SHEEP (from the Anglo-Saxon sceap, a word common in various forms to Teutonic languages; e.g. the German Schaf)

sheep, four men stooping with their heads in contact and uttering harsh cries . The canter of the See also:

• BABOON (from the Fr. babuin, which is itself derived from Babon, the Egyptian deity to whom it was sacred)

baboon is the humorous part of the ceremony . The Bushmen dance in long irregular jumps, which they compare to the leaping of a See also:

• HERD (a word common to Teutonic languages; the O. Eng. form was heord; cf. Ger. Herde, Swed. and Dan. hjord; the Sans. ca'rdhas, which shows the pre-Teutonic form, means a troop)

herd of calves, and the See also:

• HOTTENTOTS

Hottentots not only go on all-fours to counterfeit the baboon, but they have a dance in which the buzzing of a swarm of bees is represented . The Kennowits in See also:

• BORNEO

Borneo introduce the mias and the See also:

• DEER (O. E. rigor, dfor, a common Teutonic word, meaning a wild animal, cf. Ger. Tier, Du. dier, &c., probably from a root dhus-, to breathe)
• DEER, CHINESE

deer for the same purpose . The Australians and Tasmanians in their dances called corrobories imitate the See also:

• FROG

frog and the kangaroo (both leaping animals) .

The See also:

• HUNT, ALFRED WILLIAM (183o-1896)
• HUNT, HENRY (1i73-1835)
• HUNT, HENRY JACKSON (1819-1889)
• HUNT, JAMES HENRY LEIGH (1784-1859)
• HUNT, ROBERT (1807-1887)
• HUNT, THOMAS STERRY (1826-1892)
• HUNT, WILLIAM HENRY (1790—1864)
• HUNT, WILLIAM HOLMAN (1827-1910)
• HUNT, WILLIAM MORRIS (1824-1879)

hunt of the emu is also performed, a number of men passing slowly round the See also:

• FIRE (in O. Eng. f j'r; the word is common to West German languages, cf. Dutch vuur, Ger. Feuer; the pre-Teutonic form is seen in Sanskrit pu, pavaka, and Gr. irup; the ultimate origin is usually taken to be a root meaning to purify, cf. Lat. purus)

fire and throwing their arrows about so as to imitate the movements of the animal's head while feeding . The Gonds are fond of dancing the bison hunt, one man with skin and horns taking the part of the animal . Closely allied to these are the mimic fights, almost universal among tribes to which war is one of the See also:

• GREAT

great interests of See also:

• LIFE

life . The Bravery dance of the Dahomans and the Hoolee of the Bhil tribe in the See also:

• VINDHYA

Vindhya Hills are illustrations . The latter seems to have been reduced to an amusement conducted by professionals who go from See also:

• VILLAGE

village to 'villager—the See also:

• BATTLE

battle being engaged in by women with long poles on the one side, and men with See also:

• SHORT, FRANCIS JOB (1857– )

short cudgels on the other . There is here an See also:

• ELEMENT (Lat. elementum)

element of See also:

• COMEDY

comedy, which also appears in the See also:

• FIJI
• FIJI (Viii)

Fiji See also:

• CLUB (connected with " clump ")

club-dance . This, although no doubt origin-ally suggested by war, is enlivened by the presence of a See also:

• CLOWN (derived by Fuller, in his Worthies, from Lat. colones, a husbandman; but apparently connected with " clod " and with similar forms in Teutonic and Scandinavian languages)

clown covered with leaves and wearing a See also:

• MASK (Fr. masque, apparently from med. Lat. mascus, masca, spectre, through Ital. maschera, Span. mascara)

mask . The monotonous song accompanying the club-dance is by way of commentary or ex-planation . So, also, in See also:

• GUATEMALA (sometimes incorrectly written GUATIMALA)
• GUATEMALA, or GUATEMALA LA NUEVA (i.e. " New Guatemala," sometimes written Nueva Guatemala, and formerly Santiago de los Caballeros de Guatemala)

Guatemala there is a public baile or dance, in which all the performers, wearing the skins and heads of beasts, go through a See also:

• MOCK

mock battle, which always ends in the victory of those wearing the deer's head . At the end the victors trace in the See also:

• SAND
• SAND, GEORGE (1804-1876)

sand with a See also:

• POLE (FAMILY)
• POLE, REGINALD (1500-1558)
• POLE, RICHARD DE LA (d. 1525)
• POLE, WILLIAM (1814—1900)

pole the figure of some animal; and this See also:

• EXHIBITION

exhibition is supposed to have some See also:

• HISTORICAL

historical reference . But nearly all See also:

• SAVAGE
• SAVAGE, MINOT JUDSON (1841– )
• SAVAGE, RICHARD (d. 1743)

savage tribes have a See also:

• REGULAR

regular war-dance, in which they appear in fighting See also:

• COSTUME
• COSTUME (through the Fr. costume, from Ital. costume, Late Lat. costuma, a contracted form of Lat. consuetudinem, ace. of consuetudo, custom, habit, manner, &c.)

costume, handle their weapons, and go through the movements of See also:

• CHALLENGE (O. Fr. chalonge, calenge, &c., from Lat. calumnia, originally meaning trickery, from calvi, to deceive, hence a false accusation, a " calumny ")

challenge, conflict, pursuit or defeat . The women generally See also:

• SUPPLY (through Fr. from Lat. supplere, to fill up)

supply the stimulus of music .

There is one very picturesque dance of the See also:

• NATAL

Natal See also:

• KAFFIRS (Arabic Kafir, an unbeliever)

Kaffirs, which probably refers to the departure of the warriors for the battle . The women appeal plaintively to the men, who slowly withdraw, stamping on the ground and darting their short spears or assegais towards the See also:

• SKY (M. Eng. skie, cloud; O. Eng. skua, shade; connected with an Indo-European root sku, cover, whence " scum," Lat. obscurus, dark, &c.)

sky . In See also:

• MADAGASCAR

Madagascar, when the men are absent on war, the women dance for a great part of the See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day, believing that this inspires their husbands with courage . In this, however, there may be some religious significance . These war-dances are totally distinct from the institution of military See also:

• DRILL

drill, which belongs to a later period, when social life has become less impulsive and more reflective 1 There can he little doubt that some of the characteristic movements of these primitive hunting and war-dances survive in the smooth and ceremonious dances of the present day . But the early mimetic dance was not confined to these two subjects; it embraced the other great events of savage life—the See also:

• DRAMA (literally "action," from Gr. Snail, act or do)

drama of courtship and See also:

• MARRIAGE

marriage, the funeral dance, the See also:

• CONSECRATION (Lat. consecrallo, from con and sacrare, " to make sacred ")

consecration of labour, the celebration of See also:

• HARVEST (A.S. hcerfest " autumn," O.H. Ger. herbist, possibly through an old Teutonic root representing Lat. car pere, " to pluck ")

harvest or vintage; 2 sometimes, too, purely fictitious scenes of dramatic interest, while other dances degenerated into See also:

• GAMES, CLASSICAL

games . For instance, in Yucatan one man danced in a cowering attitude round a circle, while another followed, hurling at him bolzordos or canes, which were adroitly caught on a small stick . Again, in See also:

• TASMANIA

Tasmania, the dances of the women describe their " clamber for the See also:

• OPOSSUM
• OPOSSUM, AUSTRALIAN
• OPOSSUM, RINGTAILED
• OPOSSUM, TASMANIAN (grey and black)

opossum, diving for See also:

• SHELL
• SHELL (O. Eng. scell, scyll, cf. Du. sceel, shell, Goth. skalja, tile; the word means originally a thin flake,. cf. Swed. skalja, to peel off; it is allied to " scale " and " skill," from a root meaning to cleave, divide, separate)

shell-See also:

• FISH (O. Eng. fist, a word common to Teutonic languages, cf. Dutch visch, Ger. Fisch, Goth. fisks, cognate with the Lat. piscis)
• FISH, HAMILTON (1808-1893)

fish, digging for roots, See also:

• NURSING

nursing children and quarrelling with husbands." Another dance, in which a woman by gesture taunts a chieftain with cowardice,, gives him an opportunity of coming forward and recounting his courageous deeds in dance . The funeral dance of the See also:

• TODAS

Todas (another See also:

• INDIAN

Indian hill-tribe) consists in walking backwards and forwards, without variation, to a howling tune of " ha! hoc) ! " The meaning of this is obscure, but it can scarcely be solely an outburst of grief . In See also:

• DAHOMEY (Fr. Dahome)

Dahomey the blacksmiths, carpenters, hunters, braves and bards, with their various tools and instruments, join in a dramatic dance . We may add here a form of dance which is almost precisely See also:

• EQUIVALENT

equivalent to the spoken See also:

• INCANTATION

incantation .

It is used by the professional See also:

• DEVIL (Gr. &a,3oXos, " slanderer," from &ctflisXX sty, to slander)

devil-dancer of the wild Veddahs for the cure of diseases . An offering of eatables is put on a See also:

• TRIPOD (Gr. rpiTovr, Lat. tripus)

tripod of sticks, and the dancer, decorated with See also:

• GREEN, A
• GREEN, ALEXANDER HENRY (1832—1896)
• GREEN, DUFF (1791—1875)
• GREEN, JOHN RICHARD (1837—1883)
• GREEN, MATTHEW (1696-1737)
• GREEN, THOMAS HILL (1836-1882)
• GREEN, VALENTINE (1739–1813)
• GREEN, WILLIAM HENRY (.1825–1900)

green leaves, goes into a See also:

• PAROXYSM (Med. Lat. paroxysntus, from the Gr. wapotbvety, to make sharp, odes)

paroxysm of dancing, in the midst of which he receives the required See also:

• INFORMATION (from Lat. informare, to give shape or form to, to represent, describe)

information . This, however, rather belongs to the subject of religious dances . It is impossible here to enumerate either the names or the forms of the sacred dances which formed so prominent a part of the worship of antiquity . A mystic See also:

• PHILOSOPHY (Gr. gthos, fond of, and vo4 (a, wisdom)

philosophy found in them a resemblance to the courses of the stars . This See also:

• PYTHAGOREAN

Pythagorean idea was See also:

• EXPANDED

expanded by See also:

• SIR

Sir See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John See also:

• DAVIES (DAvIslus), JOHN (1679-1732)
• DAVIES, DAVID CHARLES (1826-1891)
• DAVIES, RICHARD (c. 1505—1581)
• DAVIES, SIR JOHN (1569-1626)
• DAVIES, SIR LOUIS HENRY (1845— )

Davies, in his epic poem See also:

• ORCHESTRA (Fr. Orchestre; Ger. Kapelle, Orchester; Ital. Orchestra)

Orchestra, published in 1596 . They were probably adapted to many purposes,—to thanksgiving, praise, supplication and humiliation . It is only one striking See also:

• ILLUSTRATION

illustration of this widespread practice, that there was at See also:

• ROME
• ROME (Roma)

Rome a very ancient order of priests especially named See also:

• SALII

Salii, who struck their See also:

• SHIELDS, JAMES (181b-1879)

shields and sang assamenta as they danced . The practice reappeared in the early See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church, See also:

• SPECIAL

special See also:

• PROVISION (Lat. provisio)

provision being made for dancing in the See also:

• CHOIR (0. Fr. cuer from Lat. chorus; pronounced quire, and until the end of the 17th century so spelt, the spelling being altered to agree with the Fr. chceur)

choir . See also:

• SCALIGER

Scaliger, who astonished See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles V. by his dancing powers, says the bishops were called Praesules, because they led the dance on feast days . According to some of the fathers, the angels are always dancing, and the glorious company of the apostles is really a See also:

• CHORUS (Gr. xopbs)Z

chorus of dancers . Dancing, however, See also:

• FELL
• FELL, JOHN (1625-1686)

fell into discredit with the feast of the Agapae .

St See also:

• AUGUSTINE, SAINT (354-430)
• AUGUSTINE, SAINT (d. c.613)

Augustine says, " Melius est fodere quam saltare "; and the practice was generally prohibited for some time . No church or See also:

• SECT

sect has raged so fiercely against the See also:

• CARDINAL (Lat. cardinalis)

cardinal See also:

• SIN
• SIN (O. Eng. syn: a common Teutonic word, cf. Dutch zonde, Ger. Siinde)

sin of dancing as the Albigenses of See also:

• LANGUEDOC

Languedoc and the Waldenses, who agreed in calling it the devil's procession . After the See also:

• MIDDLE

middle of the 18th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century there were still traces of religious dancing in the cathedrals of Spain, See also:

• PORTUGAL

Portugal and See also:

• ROUSSILLON

Roussillon—especially in the Mozarabic See also:

• MASS (O.E. maesse; Fr. messe; Ger. Messe; Ital. messa; from eccl. Lat. missa)
• MASS, IN

Mass of See also:

• TOLEDO
• TOLEDO, COUNCILS OF (Concilia toletana)

Toledo . An See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account of the numerous See also:

• SECULAR (Lat. saecularis, of or belonging to an age or generation, saeculum)

secular dances, public and private, of Greece and Rome will be found in the classical histories, and in J . See also:

• WEAVER, JAMES BAIRD (1833- )

Weaver's See also:

• ESSAY, ESSAYIST (Fr. essai, Late Lat. exagium, a weighing or balance; exigere, to examine; the term in general meaning any trial or effort)

Essay towards a See also:

• HISTORY

History of Dancing, (See also:

• LONDON

London, 1712), which, however, must be revised by more See also:

• RECENT

recent authorities . The Pyrrhic (derived from the Memphitic) in all its See also:

• LOCAL

local varieties, 1 The Greek Kapirata represented the surprise by robbers of a See also:

• WARRIOR

warrior ploughing a See also:

• FIELD (a word common to many West German languages, cf. Ger. Feld, Dutch veld, possibly cognate with O.E. f olde, the earth, and ultimately with root of the Gr. irAaror, broad)
• FIELD, CYRUS WEST (1819-1892)
• FIELD, DAVID DUDLEY (18o5-1894)
• FIELD, EUGENE (1850-1895)
• FIELD, FREDERICK (18o1—1885)
• FIELD, HENRY MARTYN (1822-1907)
• FIELD, JOHN (1782—1837)
• FIELD, MARSHALL (183 1906)
• FIELD, NATHAN (1587—1633)
• FIELD, STEPHEN JOHNSON (1816-1899)
• FIELD, WILLIAM VENTRIS FIELD, BARON (1813-1907)

field . The gymnopaedic dances imitated the sterner sports of the See also:

• PALAESTRA (Gr. aaXaiarpa)

palaestra . 2 The Greek Lenaea and See also:

• DIONYSIA

Dionysia had a distinct reference to the seasons . the See also:

• BACCHANALIA

Bacchanalia and the Hymenaea were among the more important . The name of See also:

• LYCURGUS
• LYCURGUS (c. 396–325 B.C.)
• LYCURGUS (Gr. AvKofpyor)

Lycurgus is also associated with the Trichoria . Among the stage dances of the Athenians, which formed interludes to the regular drama, one of the See also:

• OLDEST

oldest was the Delian dance of the See also:

• LABYRINTH (Gr. Xa(3vpcvOos, Lat. labyrinthus)

Labyrinth, ascribed to See also:

• THESEUS

Theseus, and called I'pavos, from its resemblance to the See also:

• FLIGHT

flight of See also:

• CRANES (so called from the resemblance to the long neck of the bird, cf. Gr. 'y pavor, Fr. grue)

cranes, and one of the most powerful was the dance of the See also:

• EUMENIDES (from Gr. evµevtits, kindly; di, well, and jAvos, disposition)

Eumenides . A further development of the See also:

• ART

art took place at Rome, under See also:

• AUGUSTUS (a name 1 derived from Lat. augeo, increase, i.e. venerable, majestic, Gr. Ee0avr6s)

Augustus, when Pylades and Bathyllus brought serious and comic See also:

• PANTOMIME

pantomime to great perfection .

The subjects chosen were such as the labours of See also:

• HERCULES
• HERCULES (0. Lat. Hercoles, Hercles)

Hercules, and the surprise of See also:

• VENUS

Venus and See also:

• MARS
• MARS (MAYORS, MARMAR, MARSPITER GA MASPITER)
• MARS, MLLE [ANNE FRANCOISE HYPPOLYTE BOUTET] (1779-1847)

Mars by See also:

• VULCAN (Volcanos)

Vulcan . The state of public feeling on the subject is well shown in See also:

• LUCIAN (d. 312)
• LUCIAN [Aowaavos] (c. A.D. 120-180)

Lucian's amusing See also:

• DIALOGUE

dialogue De Saltatione . Before this Rome had only very inferior buffoons, who attended See also:

• DINNER

dinner parties, and whose art traditions belonged not to Greece, but to See also:

• ETRURIA

Etruria.' Apparently, however, the See also:

• ROMANS
• ROMANS, EPISTLE TO THE

Romans, though fond of ceremony and of the See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

theatre, were by temperament not great dancers in private . See also:

• CICERO

Cicero says: " Nemo fere saltat sobrius, nisi forte insanit." But the See also:

• ITALIC

Italic dance of the imperial theatre, supported by music and splendid dresses, supplanted for a time the older dramas . It was the policy of Augustus to cultivate,other than See also:

• POLITICAL

political interests for the people; and he passed See also:

• LAWS

laws for the See also:

• PROTECTION

protection and privilege of the pantomimists . They were freed from the See also:

• JUS

jus virgarum, and they used their freedom against the See also:

• PEACE
• PEACE, BREACH OF THE

peace of the See also:

• CITY (through Fr. cite, from Lat. civitas)

city . Tiberius and See also:

• DOMITIAN (Thus FLAVIUS DOMITIANUS)

Domitian oppressed and banished them; See also:

• TRAJAN [MARCUS ULPIUS TRAJANUS] (A. D. 53-117)

Trajan and Aurelius gave them such titles as decurions and priests of See also:

• APOLLO (Gr. 'A2r6XXwv,'Airkkhwv)

Apollo; but the panto-See also:

• MIME

mime stage soon yielded to the general corruption of the See also:

• EMPIRE

empire . Modern Dancing.—In modern civilized countries dancing has developed as an art and pastime, as an entertainment . Its See also:

• DIRECT

direct application to arouse emotion or religious feeling tends to be obscured and finally dropped out . See also:

• ITALY
• ITALY (Italia)

Italy, in the 15th century, saw the See also:

• RENAISSANCE, THE

renaissance of dancing, and See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France may be said to have been the nursery of the modern art, though comparatively few modern dances are really See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French in origin . The national dances of other countries were brought to France, studied systematically, and made perfect there . An See also:

• ENGLISH

English or a Bohemian dance, practised only amongst peasants, would be taken to France, polished and perfected, and would at last find its way back to its own See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country, no more recognizable than a piece of elegant See also:

• CLOTH

cloth when it returns from the printer to the place from which as " See also:

• GREY, CHARLES GREY, 2ND EARL (1764-1845)
• GREY, HENRY GREY, 3RD EARL (1802-1894)
• GREY, LADY JANE (1537-1554)
• GREY, SIR EDWARD
• GREY, SIR GEORGE (1812–1898)

grey " material it was sent .

The fact that the terminology of dancing is almost entirely French is a sufficient indication of the origin of the rules that govern it . The earliest dances that bear any relation to the modern art are probably the danses basses and danses hautes of the 16th century . The danse basse was the dance of the See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court of Charles IX. and of See also:

• GOOD, JOHN MASON (1764-1827)

good society, the steps being very See also:

• GRAVE

grave and dignified, not to say See also:

• SOLEMN (Lat. sollemnis, sollemnis, less correctly solennis, yearly, annual; from sollus = totus, whole, entire, Gr. Mos., and annus, year)

solemn, and the accompaniment a See also:

• PSALM (from the Gr. word * hXAew, to play the harp)

psalm tune . The danses hautes or baladines had a skipping step, and were practised only by clowns and country people . More lively dances, such as the Gaillarde and See also:

• VOLTA
• VOLTA, ALESSANDRO (1745-1827)

Volta, were introduced into France from Italy by See also:

• CATHERINE
• CATHERINE, SAINT

Catherine de' See also:

• MEDICI
• MEDICI, GIACOMO (1817-1882)

Medici, but even in these the interest was chiefly spectacular . Other dances of the same period were the Branle (afterwards corrupted to Braule, and known in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England as the Brawle)—a See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of generic dance which was capable of an almost See also:

• INFINITE (from Lat. in, not, finis, end or limit; cf. findere, to deave)

infinite amount of variety . Thus there were imitative dances—Branles mimes, such as the Branles See also:

• DES

des Ermites, Branles des flambeaux and the Branles des lavandieres . The Branle in its See also:

• ORIGINAL

original form had steps like the See also:

• ALLEMANDE (Fr. for danse allemande, or German dance)

Allemande . Perhaps the most famous and stately dance of this period was the See also:

• PAVANE, PAVAN

Pavane (of See also:

• SPANISH

Spanish origin), which is very fully described In Tabouret's Orchesographie, the earliest work in which a dance is found minutely described . The Pavane, which was really more a procession than a dance, must have been a very gorgeous and See also:

• NOBLE, SIR ANDREW (1832- )

noble sight, and it was perfectly suited to the See also:

• DRESS (from the Fr. dresser, to set out, arrange, formed from Lat. directus, arranged, dirigere, to direct, arrange)

dress of the period, the stiff brocades of the ladies and the swords and heavily-plumed hats of the gentlemen being displayed in its See also:

• SIMPLE

simple and dignified See also:

• MEASURES

measures to great See also:

• ADVANTAGE

advantage . The dancers ' The Pantomimus was an outgrowth from the canticum or choral singing of the older comedies and fabulae Atellanae . in the time of See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

Henry III. of France usually sang, while performing the Pavane, a chanson, of which this is one of the verses: " Approche donc, ma belle, Approche-toi, mon bien; Ne me sois plus rebelle, Puisque mon ccnur est tien; Pour mon ame apaiser, See also:

• DONNE, JOHN (1573–1631)

Donne-moi un baiser." In the Pavane and Branle, and in nearly all the dances of the See also:

• LATH (0. Eng. laett, Mid. Eng. lappe, a form possibly due to the Welsh llath; the word appears in many Teutonic languages, cf. Dutch lat, Ger. Latte, and has passed into Romanic, cf. Ital. latta, Fr. latte)

lath and 18th centuries, the practice of kissing formed a not unimportant part, and seems to have added greatly to the popularity of the pastime .

Another extremely popular dance was the See also:

• SARABAND (Ital. Sarabanda, Zarabanda; Fr. Sarabande)

Saraband, which, however, died out after the 17th century . It was originally a Spanish dance, but enjoyed an enormous success for a time in France . Every dance at that time had its own tune or tunes, which were called by its own name, and of the Saraband the See also:

• CHEVALIER, ALBERT (1861– )
• CHEVALIER, MICHEL (1806-1879)
• CHEVALIER, ULYSSE (1841– )

chevalier de See also:

• GRAMMONT (the Flemish name Gheeraardsbergen more clearly reveals its • etymology . Gerardi-mons)

Grammont wrote that " it either charmed or annoyed everyone, for all the guitarists of the court began to learn it, and See also:

• GOD

God only knows the universal twanging that followed." See also:

• VAUQUELIN, LOUIS NICOLAS (1763-1829)

Vauquelin des Yveteaux, in his eightieth See also:

• YEAR

year, desired to See also:

• DIE
• DIE (Fr. de, from Lat. datum, given)

die to the tune of the Saraband, " so that his soul might pass away sweetly." After the Pavane came the See also:

• COURANTE (a French word derived from courir, to run)

Courante, a court dance performed on tiptoe with slightly See also:

• JUMPING

jumping steps and many bows and curtseys . The Courante is one of the most important of the strictly modern dances . The See also:

• MINUET (adapted, under the influence of the Italian minuetto, from Fr. menuet, small, pretty, delicate, a diminutive of menu, from Lat. minutus; the word refers probably to the short steps, pas menus, taken in the dance)

minuet and the waltz were both in some degree derived from it, and it had much in See also:

• COMMON

common with the famous Seguidilla of Spain . It was a favourite dance of See also:

• LOUIS
• LOUIS (804–876)
• LOUIS (893–911)
• LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
• LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian

Louis XIV., who was an See also:

• ADEPT (if used as a substantive pronounced adept, if as an adjective adept; from Lat. adeptus, one who has Attained)

adept in the art, and it was regarded in his time as of such importance that a nobleman's See also:

• EDUCATION

education could hardly have been said to be begun until he had mastered the Courante . The dance which the French brought to the greatest perfection —which many, indeed, regard as the See also:

• FINE

fine See also:

• FLOWER (Lat. flos, floris; Fr. fleur)
• FLOWER, SIB

flower of the art—was the Minuet . Its origin, as a rustic dance, is not less See also:

• ANTIQUE (Lat. antiquus, old)

antique than that of the other dances from which the modern art has been evolved . It was originally a branle of See also:

• POITOU

Poitou, derived from the Courante . It came to See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris in 165o, and was first set to music by See also:

• LULLY

Lully . It was at first a See also:

• GAY, JOHN (1685-1732)
• GAY, MARIE FRANCOISE SOPHIE (1776-1852)
• GAY, WALTER (1856– )

gay and lively dance, but on being brought to court it soon lost its sportive See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character and became grave and dignified . It is mentioned by Beauchamps, the See also:

• FATHER

father of dancing-masters, who flourished in Louis XIV.'s reign, and also by Blondy, his See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil; but it was Pecour who really gave the minuet its popularity, and although it was improved and made perfect by Dauberval, Gardel, See also:

• MARCEL, ETIENNE (d: 1358)

Marcel and See also:

• VESTRIS, GAETANO APPOLINO BALDASSARE (1729-18o8)
• VESTRIS, LUCIA ELIZABETH (1797—1856)

Vestris, it was in Louis XV.'s reign that it saw its See also:

• GOLDEN

golden See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age .

It was then a dance for two in moderate triple time, and was generally followed by the See also:

• GAVOTTE (a French word adopted from the Provencal gavoto)

gavotte . Afterwards the minuet was considerably developed, and with the gavotte became chiefly a stage dance and a means of display; but it should be remembered that the minuets which are now danced on the stage are generally highly elaborated with a view to their spectacular effect, and have imported into them steps and figures which do not belong to the minuet at all, but are borrowed from all kinds of other dances . The original court minuet was a grave and simple dance, although it did not retain its simplicity for long . But when it became elaborated it was glorified and moulded into a perfect expression of an age in which deportment was most sedulously cultivated and most brilliantly polished . The " languishing eye and smiling mouth " had their due effect in the minuet; it was a school for See also:

• CHIVALRY (O. Fr. chevalerie, from Late Lat. caballerius)

chivalry, See also:

• COURTESY (O. Fr. curtesie, later courtoisie)

courtesy and ceremony; the See also:

• HUNDRED

hundred slow graceful movements and curtseys, the pauses which had to be filled by neatly-turned compliments, the beauty and bravery of attire—all were eloquent of See also:

• GRACES, THE, (Gr. X&panes, Lat. Gratiae)

graces and outward refinements which we cannot boast now . The fact that the measure of the minuet has become incorporated in the structure of the See also:

• SYMPHONY

symphony shows how important was its place in the polite world . The Gavotte, which was often danced as a See also:

• PENDANT (through Fr. from Lat. pendere, to hang)

pendant to the minuet, was also originally a See also:

• PEASANT (O. Fr. paysant, Mod. paysan; Lat. pagensis, belonging to the pagus or country; cf. " pagan ")

peasant's dance, a danse des Gavots, and consisted chiefly of kissing and capering . It also became stiff and artificial, and in the later and more prudish half of the 18th century the ladies received bouquets instead of kisses in dancing the gavotte . It rapidly became a stage dance, and it has never been restored to the ballroom . See also:

• GRETRY

Gretry attempted 798 to revive it, but his arrangement never became popular . Other dances which were naturalized in France were the Ecossaise, popular in 176o; the Cotillon, fashionable under Charles X., derived from the peasant branles and danced by ladies in short skirts; the Galop, imported from See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany; the Lancers, invented by Laborde in 1836; the See also:

• POLKA (either from the Czech pulka, half, with an allusion to the short steps characteristic of the dance, or from the Polish Polka, feminine of Polak, a Pole)

Polka, brought by a dancing-See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master from See also:

• PRAGUE (Ger. Prag; Bohemian Praha)

Prague in 1840; the See also:

• SCHOTTISCHE

Schottische, also Bohemian, first introduced in 1844; the See also:

• BOURREE

Bourree, or French clog-dance; the See also:

• QUADRILLE

Quadrille, known in the 18th century as the Contre-danse; and the Waltz, which was danced as a volte by Henry III. of France, but only became popular in the beginning of the r9th century . We shall return to the history of some of these later dances in discussing the dances at present in use .

If France has been the nursery and school of the art of dancing, Spain is its true See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home . There it is part of the national life, the inevitable expression of the gay, contented, irresponsible, See also:

• SUN
• SUN (0. Eng. sonne, Ger. sonne. Fr. soleil, Lat. sol, Gr. ijXior, from which comes helio- in various English compounds)

sun-burnt nature of the people . The form of Spanish dances has hardly changed; some of them are of great antiquity, and may be traced back with hardly a break to the performances in ancient Rome of the famous dancing-girls of See also:

• CADIZ
• CADIZ (Cadiz)
• CADIZ (in Lat. Gades, and formerly called Cales by the English)

Cadiz . The connexion is lost during the period of the Arab invasion, but the art was not neglected, and See also:

• JOVELLANOS (or JovE LLANOS), GASPAR MELCHOR DE (1744-1811)

Jovellanos suggests that it took See also:

• REFUGE

refuge in the See also:

• ASTURIAS

Asturias . At any See also:

• RATE

rate, dances of the loth and lath centuries have been preserved uncorrupted . The earliest dances known were the Turdion, the Gibidana, the See also:

• PIE

Pie-de-gibao, and (later) the Madama See also:

• ORLEANS
• ORLEANS, CHARLES, DUKE OF (1391-1465)
• ORLEANS, DUKES OF
• ORLEANS, FERDINAND PHILIP LOUIS CHARLES HENRY, DUKE OF (1810-1842)
• ORLEANS, HENRI, PRINCE
• ORLEANS, HENRIETTA, DUCHESS
• ORLEANS, JEAN BAPTISTE GASTON, DUKE
• ORLEANS, LOUIS
• ORLEANS, LOUIS PHILIPPE JOSEPH
• ORLEANS, LOUIS PHILIPPE ROBERT, DUKE
• ORLEANS, LOUIS PHILIPPE, DUKE OF (1725–1785)
• ORLEANS, LOUIS, DUKE OF (1372–1407)
• ORLEANS, PHILIP I
• ORLEANS, PHILIP II

Orleans, the Alemana and the Pavana . Under See also:

• PHILIP
• PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
• PHILIP, JOHN (1775-1851)
• PHILIP, KING (c. 1639-1676)
• PHILIP, LANOGRAVE OF HESSE (1504-1567)

Philip IV. theatrical dancing was in high popularity, and ballets were organized with extraordinary magnificence of decoration and costume . They supplanted the national dances, and the Zarabanda and Chacona were practically See also:

• EXTINCT

extinct in the 18th century . It is at this period that the famous modern Spanish dances, the Bolero, Seguidilla and the Fandango, first appear . Of these the Fandango is the most important . It is danced by two people in 6–8 time, beginning slowly and tenderly, the rhythm marked by the click of See also:

• CASTANETS (Fr. castagnettes, Ger. Kastagnetten, Span. castanuelas)

castanets, the snapping of the fingers and the stamping of feet, and the See also:

• SPEED, JOHN (1552–1629)

speed gradually increasing until a whirl of exaltation is reached . A feature of the Fandango and also of the Seguidilla is a sudden pause of the music towards the end of each measure, upon which the dancers stand rigid in the attitudes in which the stopping of the music found them, and only move again when the music is resumed .

M . Vuillier, in his History of Dancing, gives the following description of the Fandango :—" Like an electric See also:

• SHOCK, or COLLAPSE

shock, the notes of the Fandango animate all See also:

• HEARTS

hearts . Men and women, See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young and old, acknowledge the See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power of this See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air over the ears and soul of every Spaniard . The young men See also:

• SPRING (from " to spring," " to leap or jump up," " burst out," O. Eng., springau, a common Teut. word, cf. Ger. springer, possibly allied to Gr. QnrFpxecOac, to move rapidly)

spring to their places, rattling castanets or imitating their sound by snapping their fingers . The girls are remarkable for the willowy languor and lightness of their movements, the voluptuousness of their attitudes—beating the exactest time with tapping heels . Partners tease and entreat and pursue each other by turns . Suddenly the music stops, and each dancer shows his skill by remaining absolutely motionless, bounding again into the full life of the Fandango as the orchestra strikes up . The sound of the See also:

• GUITAR (Fr. guitarre, Ger. Guitarre, Ital. chitarra, Span. guitarra)

guitar, the See also:

• VIOLIN

violin, the rapid See also:

• TIC

tic-tac of heels (taconeos), the crack of fingers and castanets, the supple swaying of the dancers, fill the spectator with See also:

• ECSTASY (Gr. iarra(TLc, from i LarliU, put out of its place, alter)

ecstasy . The measure whirls along in a rapid triple time . Spangles glitter; the See also:

• SHARP, GRANVILLE (1735-1813)
• SHARP, JAMES (1618-1679)
• SHARP, JOHN (1645-1714)
• SHARP, RICHARD (1759-1835)
• SHARP, WILLIAM (1749-1824)
• SHARP, WILLIAM (1856-1905)

sharp clank of See also:

• IVORY (Fr. ivoire, Lat. ebur)
• IVORY, SIR JAMES (1765-1842)

ivory and See also:

• EBONY (Gr. E(3evos)

ebony castanets beats out the cadence of See also:

• STRANGE, SIR ROBERT (1721-1792)

strange, throbbing, deepening notes—assonances unknown to music, but curiously characteristic, effective and intoxicating . Amidst the rustle of silks, See also:

• SMILES, SAMUEL (1812-1904)

smiles gleam over See also:

• WHITE
• WHITE, ANDREW DICKSON (1832– )
• WHITE, GILBERT (1720–1793)
• WHITE, HENRY KIRKE (1785-1806)
• WHITE, HUGH LAWSON (1773-1840)
• WHITE, JOSEPH BLANCO (1775-1841)
• WHITE, RICHARD GRANT (1822-1885)
• WHITE, ROBERT (1645-1704)
• WHITE, SIR GEORGE STUART (1835– )
• WHITE, SIR THOMAS (1492-1567)
• WHITE, SIR WILLIAM ARTHUR (1824--1891)
• WHITE, SIR WILLIAM HENRY (1845– )
• WHITE, THOMAS (1628-1698)
• WHITE, THOMAS (c. 1550-1624)

white See also:

• TEETH (O.E. Eel); plural of tooth, O.E. top)

teeth, dark eyes sparkle and droop and flash up again in See also:

• FLAME (Lat. flamma; the root flag- appears in flagrare, to burn, blaze, and Gr. d, XEryew)

flame . All is flutter and glitter, See also:

• GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
• GRACE, WILLIAM GILBERT (1848– )

grace and animation—quivering, sonorous, passionate, seductive." The Bolero is a comparatively modern dance, having been invented by See also:

• SEBASTIAN
• SEBASTIAN, ST

Sebastian Cerezo, a celebrated dancer of the time of See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

King Charles III .

It is remarkable for the See also:

• FREE

free use made in it of the arms, and is said to be derived from the ancient Zarabanda, a violent and licentious dance, which has entirely disappeared, and with which the later Saraband has practically nothing in common . The step of the Bolero is low and gliding but well marked . It is danced by one or more couples . The Seguidilla ishardly less ancient than the Fandango, which it resembles . Every See also:

• PROVINCE
• PROVINCE (Lat. provincia; perhaps a contraction of providentia)

province in Spain has its own Seguidilla, and the dance is accompanied by coplas, or verses, which are sung either to traditional melodies or to the tunes of local composers; indeed, the national music of Spain consists largely of these coplas . See also:

• BARON
• BARON (1835-1895)
• BARON, MICHEL (1653—1729)

Baron Davillier, among several specimens of Seguidillas, gives this one " Mi corazon volando Se See also:

• FILE

file a tu pecho; Le cortaste See also:

• LAS

las alas, Y quedo dentro . See also:

• POR

Por atrevido Se quedara por siempre En el metido." 1 M . Vuillier quotes a copla which he heard at Polenza, in the Balearic Islands . This See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse is formed on the rhythm of the Malaguena : " Una estrella se ha pardida En el ciel y no parece ; En tu cara se ha metido; Y en tu frente resplandece." 2 The Jota is the national dance of See also:

• ARAGON, or ARRAGON (in Span. Aragon)

Aragon, a lively and splendid, but withal dignified and reticent, dance derived from the 16th-century Passacaille . It is still used as a religious dance . The Cachuca is a light and graceful dance in triple time . It is per-formed b y a single dancer of either See also:

• SEX (Lat. sexes; possibly connected with secure, to cut)

sex .

The head and shoulders See also:

• PLAY

play an important part in the movements of this dance . Other provincial dances now in existence are the Jaleo de Jerez, a whirling measure performed by See also:

• GIPSIES, or GYPSIES

gipsies, the Palotea, the See also:

• POLO (Tibetan pulu, ball)
• POLO, GASPAR GIL (?153o-1591)
• POLO, MARCO (c. 1254-1324)

Polo, the Gallegada, the Muyneria, the Habas Verdes, the Zapateado, the Zorongo, the Vito, the Tirano and the Tripola Trapola . Most of these dances are named either after the places where they are danced or after the composers who have invented tunes for them . Many of them are but slight See also:

• VARIATIONS
• VARIATIONS, CALCULUS
• VARIATIONS, CALCULUS OF

variations from the Fandango and Seguidilla . The history of court dancing in Great See also:

• BRITAIN (Gr. Hperavuml vi7vot, Bperravia; Lat. Britannia, rarely Britannia)

Britain is practically the same as that of France, and need not occupy much of our See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention here . But there are strictly national dances still in existence which are quite See also:

• PECULIAR

peculiar to the country, and may be traced back to the dances and games of the Saxon gleemen . The See also:

• EGG (O.E. aeg, cf. Ger. Ei, Swed. aegg, and prob. Gr. u,ov, Lat. ovum)
• EGG, AUGUSTUS LEOPOLD (1816-1863)

Egg dance and the Carole were both Saxon dances, the Carole being a See also:

• YULE
• YULE, SIR HENRY (182o-1889)

Yule-See also:

• TIDE (O. Eng. lid, cf. Ger. Zeit, time or season, connected with root of Sanskrit a-diti, endless)

tide festivity, of which the present-day See also:

• CHRISTMAS (i.e. the Mass of Christ)

Christmas See also:

• CAROL (O. Fr. carole)

carol is a remnant . The oldest dances which remain unchanged in England are the See also:

• MORRIS
• MORRIS [MORRISON], CLARA (1849– )
• MORRIS, GOUVERNEUR (1752–1816)
• MORRIS, JOHN (1810-1886)
• MORRIS, RICHARD (1833–1894)
• MORRIS, ROBERT (1734–1806)
• MORRIS, SIR LEWIS (1833–1907)
• MORRIS, WILLIAM (1834-1896)

Morris dances, which were introduced in the time of See also:

• EDWARD

Edward III . The name Morris or Moorish refers to the origin of these dances, which are said to have been brought back by John of Gaunt from his travels in Spain . The Morris dances are associated with May-day, and are danced round a maypole to a lively and capering step, some of the performers having bells fastened to their knees in the Moorish manner . They are dressed as characters of old English tradition, such as See also:

• ROBIN

Robin See also:

• HOOD,
• HOOD, JOHN BELL (1831–1879)
• HOOD, SAMUEL HOOD, VISCOUNT (1724–1816)
• HOOD, SIR SAMUEL (1762-1814)
• HOOD, THOMAS (1799-1845)
• HOOD, TOM (1835–1874)

Hood, Maid Marian, See also:

• FRIAR (from the Lat. (rater, through the Fr. frere)

Friar Tuck, Little John and Tom the See also:

• PIPER, CARL, COUNT (1647-1716)

Piper . All the true country dances of Great Britain are of an active and lively measure; they may all, indeed, be said to be founded on the See also:

• JIG

jig; and the See also:

• HORNPIPE

hornpipe, which is a kind of jig, is the national dance of England .

See also:

• CAPTAIN (derived from Lat. ca put, head, through the Low Lat. capitanus)

Captain See also:

• COOK
• COOK, ALBERT STANBURROUGH (1853– )
• COOK, EDWARD DUTTON (1829–1883)
• COOK, ELIZA (1818–1889)
• COOK, JAMES (1728-1779)
• COOK, THOMAS (1808-1892)

Cook, on his voyages, made his sailors dance hornpipes in See also:

• CALM

calm See also:

• WEATHER (O. Eng. weder; the word is common to Teutonic languages; cf. Du. weder, Dan. veir, Icel. ve8r, and Ger. Wetter and Gewitter, storm; the root is wa- to blow, from which is derived " wind ")

weather to keep them in good See also:

• HEALTH

health . A characteristic of English dances was that they partook to a great extent of the nature of games; there was little variety in the steps, which were nearly all those of the jig or hornpipe, but these were incorporated into various games or plays, of which the Morris dances were the most elaborate . See also:

• RICHARD
• RICHARD (d. 1184)
• RICHARD, FRANCOIS MARIE BENJAMIN (18,9-1908)
• RICHARD, HENRY (1812-1888)
• RICHARD, ST

Richard See also:

• BAXTER, ANDREW (1686-1750)
• BAXTER, RICHARD (1615-1691)
• BAXTER, ROBERT DUDLEY (1827-1875)
• BAXTER, WILLIAM (1650-1723)

Baxter wrote that " sometimes the Morris dancers would come into the church in all their See also:

• LINEN

linen and scarves and antic dresses, with Morris bells jingling at their legs; and as soon as Common See also:

• PRAYER (from Lat. precari, entreat; Ital. pregaria, Fr. priere)
• PRAYER, BOOK OF COMMON

Prayer was read, did haste and presently to their play again." May-day has always been celebrated in England with rustic dances and festivities . Before the See also:

• REFORMATION
• REFORMATION, THE

Reformation there were no 1 " My See also:

• HEART
• HEART, LUNG

heart flew to thy See also:

• BREAST (a word common to Teutonic languages, cf. the Ger. Brust, possibly connected with an O. Sax. brustian, to bud)

breast . See also:

• THOU, JACQUES AUGUSTE DE [THUANUS] (1553-1617)
• THOU, NOM

Thou didst cut its wings, so that it remained there . And now it has waxed daring, and will stay with thee for evermore." 2 " A See also:

• STAR

star is lost and appears not in the sky; in thy face it has set itself ; on thy brow it shines." really national dances in use at court; but in the reign of See also:

• ELIZABETH
• ELIZABETH (1533-1603)
• ELIZABETH (1596-1662)
• ELIZABETH (1635–1650)
• ELIZABETH [ AMELIE EUGENIE ] (1837—1898)
• ELIZABETH [1lisabeth Philippine Marie Helene of France] (1764—1794)
• ELIZABETH [PAULINE ELIZABETH OTTILIE LOUISE] (1843– )
• ELIZABETH [PETROVNA] (1709-1762), EMPRESS
• ELIZABETH, SAINT (1207-1231)

Elizabeth the homely, domestic See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style of dancing reached the height of its popularity . Remnants of many of these dances remain to-day in the games played by children and country people; " Hunt the Slipper," " See also:

• KISS

Kiss in the See also:

• RING (O.E. hring; a word common to Teutonic languages; and probably cognate with the Lat. circus, Gr. KtpKOS or KpLKOS, Skt'. chakra, wheel, circle, cf. also " harangue "); in art, a band of circular shape of varying sizes, made of any material and used f

Ring," " Here we go round the Mulberry See also:

• BUSH

Bush," are examples . All the Tudor dances were kissing dances, and must have been the occasion of a great See also:

• DEAL

deal of merriment . Mrs Groves gives the following description of the See also:

• CUSHION (from O. Fr. coisson, coussin; according to the New English Dict., from Lat. coxa, a hip; others say from Lat. culcita, a quilt)

Cushion dance:—" The dance is begun by a single person, man or woman, who, taking a cushion in hand, dances about the room, and at the, end of a short time stops and sings: ` This dance it will no farther go,' to which the musician answers: ` I pray you, good sir, why say so?' ` Because See also:

• JOAN

Joan See also:

• SANDERSON, ROBERT (1587-1663)

Sanderson will not come to.' ` She must come to whether she will or no,' returns the musician, and then the dancer See also:

• LAYS

lays the cushion before a woman; she kneels and he kisses her, singing ` Welcome, Joan Sanderson.' Then she rises, takes up the cushion, and both dance and sing ` Prinkum prankum is a fine dance, and shall we go dance it over again?' Afterwards the woman takes the cushion and does as the man did." Other popular .dances—generally adapted to the tunes of popular songs, the nature of some of which may be guessed from their titles—were the Trenchmore, Omnium-gatherum, Tolly-polly, Hoite cum toite, Dull Sir John, Faine I would, Sillinger, All in a See also:

• GARDEN (from O. Fr. garden, mod. Fr. jardin; this, like our words " garth," a paddock attached to a building, and " yard," comes from a Teutonic word for an enclosure which appears in Gothic as gards and O. H. Ger. gart, cf. Dutch gaarde and Ger. .garten)

Garden Green, An Old Man's a See also:

• BED
• BED (a common Teutonic word, cf. German Bett, probably connected with the Indo-European root bhodh, seen in the Lat. fodere, to dig; so " a dug-out place " for safe resting, or in the same sense as a garden " bed ")

Bed Full of Bones, If All the World were See also:

• PAPER
• PAPER (Fr. papier, from Lat. papyrus)

Paper, John, Come Kiss Me Now, Cuckholds All Awry, Green Sleeves and See also:

• PUDDING

Pudding Pies, Lumps of Pudding, Under and Over, Up Tails All, The Slaughter See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

House, Rub her Down with See also:

• STRAW

Straw, Have at thy Coat Old Woman, The Happy Marriage, Dissembling Love, Sweet Kate, Once I Loved a See also:

• MAIDEN, or MAID

Maiden See also:

• FAIR

Fair . Dancing practically disappeared during the Puritan regime, but with the Restoration it again became popular . It underwent no considerable developments, however, until the reign of See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

Queen See also:

• ANNE (1665-1714)
• ANNE (1693-1740)

Anne, when the glories of See also:

• BATH
• BATH, THOMAS THYNNE
• BATH, WILLIAM

Bath were revived in the beginning of the 18th century, and Beau See also:

• NASH, RICHARD (1674-1762)

Nash See also:

• DREW
• DREW, SAMUEL (1765-1833)

drew up his famous codes of rules for the regulation of dress and See also:

• MANNERS, CHARLES (1857– )

manners, and founded the balls in which the polite French dances completely eclipsed the simpler English ones . An account of a dancing See also:

• LESSON (through Fr. lecon from Lat. lectio, reading; legere, to read)

lesson witnessed by a fond See also:

• PARENT, SIMON NAPOLEON (1855– )

parent at this time is See also:

• WORTH
• WORTH, CHARLES FREDERICK (1825-1895)

worth quoting, as it shows how far the writer (but not his daughter) had departed from the See also:

• JOLLY (from O. Fr. jolif; Fr. joli, the French word is obscure in origin; it may be from late Lat. gaudivus, from gaudere, to rejoice, the change of d to 1 being paralleled by cigada and cigale, or from O. Norse jol, Eng. " yule," the northern festival of

jolly, romping traditions of the old English dances:—" As the best institutions' are liable to corruption, so, sir, I must acquaint you that very great abuses are crept into this entertainment .

I was amazed to see my girl handed by and handing young See also:

• FELLOWS, SIR CHARLES (1799-1860)

fellows with so much familiarity, and I could not have thought it had been my See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

child . They very often made use of a most impudent and lascivious step called setting to partners, which I know not how to describe to you but by telling you that it is the very See also:

• REVERSE

reverse of back to back . At last an impudent young See also:

• DOG

dog bid the fiddlers play a dance called Moll Palley, and, after having made two or three See also:

• CAPERS

capers, ran to his partner, locked his arms in hers, and whisked her round cleverly above ground in such a manner that I, who sat upon one of the lowest benches, saw farther above her See also:

• SHOE (a word appearing in the Teutonic languages in various forms, as Ger. Schuh, Swed. and Dan. sko, sometimes supposed to come from an unknown root ska or sku, cover)

shoe than I can think See also:

• FIT

fit to acquaint you with . I could no longer endure these enormities, wherefore, just as my girl was going to be made a whirligig, I ran in, seized my child and carried her home." What we may See also:

• CALL (from Anglo-Saxon ceallian, a common Teutonic word, cf. Dutch kallen, to talk or chatter)

call polite dancing, when it became fashionable, soon invaded London, its first home being Madame Cornely's famous See also:

• CARLISLE
• CARLISLE, EARLS OF

Carlisle House in Soho Square . See also:

• RANELAGH

Ranelagh and See also:

• VAUXHALL

Vauxhall and Almack's were all extensively patronized, and the rage for magnificent entertainment and dancing culminated in the erection of the palatial See also:

• PANTHEON (Lat. pantheum or pantheon; Gr. srav& ov, all-holy, from re, s, all, and Oeor god)

Pantheon in See also:

• OXFORD
• OXFORD, EARLS OF
• OXFORD, EDWARD DE VERE, 17TH EARL
• OXFORD, JOHN DE VERE, 13TH EARL OF (1443-1513)
• OXFORD, PROVISIONS OF
• OXFORD, ROBERT DE VERE, 9TH EARL OF (1362-1392)
• OXFORD, ROBERT HARLEY, 1ST

Oxford See also:

• STREET
• STREET, GEORGE EDMUND (1824-1881)

Street—a place so universally patronized that even Dr See also:

• JOHNSON, ANDREW
• JOHNSON, ANDREW (1808–1875)
• JOHNSON, BENJAMIN (c. 1665-1742)
• JOHNSON, EASTMAN (1824–1906)
• JOHNSON, REVERDY (1796–1876)
• JOHNSON, RICHARD (1573–1659 ?)
• JOHNSON, RICHARD MENTOR (1781–1850)
• JOHNSON, SAMUEL (1709-1784)
• JOHNSON, SIR THOMAS (1664-1729)
• JOHNSON, SIR WILLIAM (1715–1774)
• JOHNSON, THOMAS

Johnson was to be found there . White's and Boodle's were also famous See also:

• ASSEMBLY, UNLAWFUL

assembly rooms, but the most exclusive of all these establishments was Almack's, the original of See also:

• BROOKS, CHARLES WILLIAM SHIRLEY (1816-1874)
• BROOKS, PHILLIPS (1835-1893)

Brooks's Club . The only true national dances of See also:

• SCOTLAND
• SCOTLAND, CHURCH OF
• SCOTLAND, EPISCOPAL CHURCH OF

Scotland are reels, strathspeys and flings, while in See also:

• IRELAND
• IRELAND, CHURCH
• IRELAND, CHURCH OF
• IRELAND, JOHN (1761-1842)
• IRELAND, JOHN (1838- )
• IRELAND, WILLIAM HENRY (1777-1835)

Ireland there is but one dance—the jig, which is there, however, found in many varieties and expressive of many shades of emotion, from the maddest gaiety to the wildest lament . Curiously enough, although the Welsh dance often, they have no strictly national dances . Dancing in present-day society is a comparatively simple affair, as five-sixths of almost all ball programmes consists of waltzes . The origin of the waltz is a much-debated subject, the French, Italians and Bavarians each claiming for their respective countries the See also:

• HONOUR (Lat. honos or lwnor, honoris; in English the word was spelled with or without the u indifferently until the 17th century, but during the 18th century it became fashion-able to spell the word " honor "; Johnson's and Webster's Dictionaries stereoty

honour of having given See also:

• BIRTH (a word common in various forms to Teutonic languages from the root of the verb " to bear ")

birth to it . As a matter of fact the waltz, as it is now danced, comes from Germany; but it is equally true that its real origin is French, since it is a development of the Volte, which in its turn came from the Lavolta of See also:

• PROVENCE (Provincia, Proenza)

Provence, one of the most ancient of French dances . The Lavolta was fashionable in the 16th century and was the delight of the See also:

• VALOIS, COUNTS AND DUKES OF
• VALOIS, HENRI DE [VALESIUS] (1603-1676)

Valois court .

The Volte danced by Henry III. was really a Valse a deux pas; and Castil-See also:

• BLAZE (A.-S. blaese, a torch)

Blaze says that " the waltz which we took again from the Germans in 1795 had been a French dance for four hundred years." The change, it is true, came upon it during its visit to Germany, hence the theory of its See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German origin . The first German waltz tune is dated 1770—" Ach! du See also:

• LIEBER, FRANCIS (1800–1872)

lieber Augustin." It was first danced at the Paris See also:

• OPERA (Italian for " work ")

opera in 1793, in Gardel's ballet La Dansomanie . It was introduced to English ballrooms in 1812, when it roused a See also:

• STORM (in O. Eng..storm, and so in Du. and Low Ger.; in O. H. Ger. and mod. Ger. Sturm; the root is probably that seen in " stir," to rouse, move, disturb, cf. Ger. storen)
• STORM, THEODOR WOLDSEN (1817-1888)

storm of ridicule and opposition, but it became popular when danced at Almack's by the See also:

• EMPEROR (Fr. empereur, from the Lat. imperator)

emperor See also:

• ALEXANDER
• ALEXANDER (1461-1506)
• ALEXANDER (ALEXANDER OF BATTENBERG) (1857-1893)
• ALEXANDER (ALEXANDER OsxENOVici) (1876-1903)
• ALEXANDER, ARCHIBALD (1772—1851)
• ALEXANDER, FRANCIS (1800—1881)
• ALEXANDER, GEORGE (1858— )
• ALEXANDER, JOHN WHITE (1856- )
• ALEXANDER, JOSEPH ADDISON (18o9—186o)
• ALEXANDER, SIR JAMES EDWARD (1803—1885)
• ALEXANDER, WILLIAM (1824— )
• ALEXANDER, WILLIAM LINDSAY (1808—1884)

Alexander in 1816 . The waltz a trois temps has a sliding step in which the movements of the knees play an important part . The tempo is moderate, so as to allow three distinct movements on the three beats of each See also:

• BAR
• BAR (0. Fr. barre, Late Lat. barra, origin unknown)
• BAR, CONFEDERATION OF
• BAR, FRANCOIS DE (1538-1606)
• BAR, THE

bar; and the waltz is written in 3–4 time and in eight-bar sentences . Walking up and down the room and occasionally breaking into the step of the dance is not true waltzing, and the See also:

• HABIT (through the French from Lat. habitus, from habere, to have, hold, or, in a reflective sense, to be in a certain condition; in many of the English senses the French use habitude, not habit)

habit of pushing one's partner backwards along the room is an entirely English one . But the dancer must be able to waltz equally well in all directions, pivoting and See also:

• CROSSING

crossing the feet when necessary in the reverse turn . It need hardly be said that the feet should never leave the See also:

• FLOOR (from O. Eng. flor, a word common to many Teutonic languages, cf. Dutch vloer, and Ger. Flur, a field, in the feminine, and a floor, masculine)

floor in the true waltz . Gungl, Waldteufel and the See also:

• STRAUSS, DAVID FRIEDRICH (1808-1874)
• STRAUSS, JOHANN (1804-1849)
• STRAUSS, RICHARD (1864– )

Strauss See also:

• FAMILY

family may be said to have moulded the modern waltz to its present form by their rhythmical and agreeable compositions . There are variations which include hopping and lurching steps; these are degradations, and See also:

• FOREIGN

foreign to the spirit of the true waltz . The Quadrille is of some antiquity, and a dance of this kind was first brought to England from See also:

• NORMANDY

Normandy by See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William the Conqueror, and was common all over See also:

• EUROPE

Europe in the 16th and 17th centuries . The term quadrille means a kind of card See also:

• GAME

game, and the dance is supposed to be in some way connected with the game .

A See also:

• SPECIES

species of quadrille appeared in a French ballet in 1745, and since that time the dance has gone by that name . Like many other dances, it came from Paris to Almack's in 1815, and in its modern form was danced in England for the first time by See also:

• LADY (0. Eng. hlaefdige, Mid. Eng. ldfdi, lavedi; the first part of the word is hldf, loaf, bread, as in the corresponding hldford, lord; the second part is usually taken to be from the root dig-, to knead, seen also in " dough "; the sense development fr

Lady See also:

• JERSEY
• JERSEY, EARLS OF

Jersey, Lady Harriet See also:

• BUTLER
• BUTLER (or BOTELER), SAMUEL (1612–168o)
• BUTLER (through the O. Fr. bouteillier, from the Late Lat. buticularius, buticula, a bottle)
• BUTLER, ALBAN (1710-1773)
• BUTLER, BENJAMIN FRANKLIN (1818-1893)
• BUTLER, CHARLES (1750–1832)
• BUTLER, GEORGE (1774-1853)
• BUTLER, JOSEPH (1692-1752)
• BUTLER, NICHOLAS MURRAY (1862– )
• BUTLER, SAMUEL (1774-1839)
• BUTLER, SAMUEL (1835-1902)
• BUTLER, SIR WILLIAM FRANCIS (1838– )
• BUTLER, WILLIAM ARCHER (1814-1848)

Butler, Lady Susan See also:

• RYDER, ALBERT PINKHAM (1847– )

Ryder and See also:

• MISS

Miss See also:

• MONTGOMERY
• MONTGOMERY ( Tre' Faldwyn)
• MONTGOMERY, GABRIEL, SEIGNEUR DE LORGES, COMTE DE (c. 1530-1574)
• MONTGOMERY, JAMES (1771-1854)
• MONTGOMERY, ROBERT (1807-1855)

Montgomery, with See also:

• COUNT (Lat. comes, gen. comitis, Fr. comte, Ital. conte, Span. conde)

Count Aldegarde, Mr Montgomery, Mr Harley and Mr Montague . It immediately became popular . It then consisted of very elaborate steps, which in England have been simplified until the degenerate practice has become common of walking through the dance . The quadrille, properly danced, has many of the graces of the minuet . It is often stated that the square dance is of modern French origin . This is incorrect, and probably arises from a mistaken See also:

• IDENTIFICATION (Lat. idem, the same)

identification of the terms quadrille and square dance . " Dull Sir John " and " Faine I would " were square dances popular in England three hundred years ago . An account of the country-dance, with the names of some of the old dance-tunes, has been given above . The word is not, as has been supposed, an See also:

• ADAPTATION (from Lat. adaptare. to fit to)

adaptation of the French contre-danse, neither is the dance itself French in origin . According to the New English See also:

• DICTIONARY

Dictionary, contre-danse is a corruption of " country-dance," possibly due to a peculiar feature of many of such dances, like Sir See also:

• ROGER (d. 1139)
• ROGER (d. 1181)

Roger de Coverley, where the partners are See also:

• DRAWN

drawn up in lines opposite to each other . The earliest See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance of the French word is in its application to English dances, which are contrasted with the French; thus in the See also:

• MEMOIRS

Memoirs of Grammont, See also:

• HAMILTON
• HAMILTON (GRAND or ASHUANIPI)
• HAMILTON, ALEXANDER (1757-1804)
• HAMILTON, ANTHONY, or ANTOINE (1646-1720)
• HAMILTON, ELIZABETH (1758–1816)
• HAMILTON, EMMA, LADY (c. 1765-1815)
• HAMILTON, JAMES (1769-1831)
• HAMILTON, JAMES HAMILTON, 1ST DUKE OF (1606-1649)
• HAMILTON, JOHN (c. 1511–1571)
• HAMILTON, MARQUESSES AND DUKES OF
• HAMILTON, PATRICK (1504-1528)
• HAMILTON, ROBERT (1743-1829)
• HAMILTON, SIR WILLIAM
• HAMILTON, SIR WILLIAM (1730-1803)
• HAMILTON, SIR WILLIAM ROWAN (1805-1865)
• HAMILTON, THOMAS (1789-1842)
• HAMILTON, WILLIAM (1704-1754)
• HAMILTON, WILLIAM GERARD (1729-1796)

Hamilton says: " On quitta See also:

• LES

les danses francaises pour se mettre aux contre-danses." The English " country-dances " were introduced into France in the early part of the 18th century and became popular; later French modifications were brought back to England under the French form of the name, and this, no doubt, caused the long-accepted but confused derivation .

The Lancers were invented by Laborde in Paris in 1836 . They were brought over to England in 185o, and were made fashionable by Madame Sacre at her classes in See also:

• HANOVER
• HANOVER (Ger. Hannover)

Hanover Square Rooms . The first four ladies to dance the lancers in England were Lady Georgina Lygon, Lady Jane See also:

• FIELDING, ANTHONY VANDYKE COPLEY (1787-1855)
• FIELDING, HENRY (1707-1754)
• FIELDING, WILLIAM STEVENS (1848– )

Fielding, Mdlle . See also:

• OLGA

Olga de Lechner and Miss See also:

• BERKELEY
• BERKELEY, GEORGE (1685–1753)
• BERKELEY, MILES JOSEPH (1803-1889)
• BERKELEY, SIR WILLIAM (c. 1608-1677)

Berkeley . The Polka, the chief of the Bohemian national dances, was adopted by Society in 18.35 at Prague . Josef Neruda had seen a peasant girl dancing and singing the polka, and had noted down the tune and the steps . From Prague it readily spread to See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna, and was introduced to Paris by Cellarius, a dancing-master, who gave it at the Odeon in 184o . It took the public by storm, and spread like an infection through England and America . Everything was named after the polka, from public-houses to articles of dress . Mr See also:

• PUNCH

Punch exerted his wit on the subject weekly, and even' The Times complained that its French See also:

• CORRESPONDENCE
• CORRESPONDENCE (from med. scholastic Lat. correspondentia, corrcspondere, compounded of Lat. cum, with, and respond ere, to answer; cf. Fr. correspondance)

correspondence was interrupted, since the polka had taken the place of politics in Paris . The true polka has three slightly jumping steps, danced on the first three beats of a four-quaver bar, the last beat of which is employed as a See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest while the toe of the unemployed foot is drawn up against the See also:

• HEEL

heel of the other . The Galop is strictly speaking a Hungarian dance, which became popular in Paris in 183o .

But some kind of a dance corresponding to the galop was always indulged in after Voltes and Contre-danses, as a relief from their grave and constrained measures . The See also:

• WASHINGTON
• WASHINGTON (or WASHINGTON COURT HOUSE)
• WASHINGTON, BOOKER TALIAFERRO (c. 1859– )
• WASHINGTON, BUSHROD (1762-1829)
• WASHINGTON, GEORGE (1732-1799)

Washington See also:

• POST

Post and several varieties of See also:

• BARN

Barn-dance are of See also:

• AMERICAN

American origin, and became fashionable towards the end of the 19th century . The Polka-See also:

• MAZURKA (Polish for a woman of the province of Mazovia)

Mazurka is extremely popular in Vienna and Buda-pest, and is a favourite theme with Hungarian composers . The six movements of this dance occupy two bars of 3-4 time, and consist of a mazurka step joined to the polka . It is of See also:

• POLISH

Polish origin . The See also:

• POLONAISE (i.e. Polish, in French)

Polonaise and Mazurka are both Polish dances, and are still fashionable in See also:

• RUSSIA
• RUSSIA (Rossiya)

Russia and See also:

• POLAND (Polish Polska, Ger. Polen), (see POLAND, RUSSIAN, below)
• POLAND, RUSSIAN

Poland . Every State ball in Russia is opened with the ceremonious Polonaise . The Schottische, a kind of modified polka, was " created " by Markowski, who was the proprietor of a famous dancing See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

academy in 185o . The Highland Schottische is a fling . The Fling and See also:

• REEL (O.E. hreol, glossed by the Med. Lat. alibrum in .lelfric's Glossary, c. 1o5o; the word is of unknown origin; it does not appear in cognate languages, and Celtic forms such as Gaelic ruidhil are from English)

Reel are See also:

• CELTIC

Celtic dances, and form the national dances of Scotland and See also:

• DENMARK
• DENMARK (Danmark)

Denmark . They are complicated measures of a studied and classical order, in which free use is made of the arms and of cries and stampings . The Strathspey is a slow and grandiose modification of the Reel .

Sir Roger de Coverley is the only one of the old English social dances which has survived to the present day, and it is frequently danced at the conclusion of the less formal sort of balls . It is a merry and lively game in which all the company take part, men and women facing each other in two long rows . The dancers are constantly changing places in such a way that if the dance is carried to its conclusion everyone will have danced with everyone else . The music was first printed in 1685, and is sometimes written in 2-4 time, sometimes in 6-8 time, and sometimes in 3-9 time . The Cotillon is a modern development of the French dance of the same name referred to above . It is an extremely elaborate dance, in which a great many toys and accessories are employed; hundreds of figures may be contrived for it, in which presents, toys, lighted tapers, biscuits, air-balloons and hurdles are used . Ballet, &c.—The modern ballet (q.v.) seems to have been first produced on a considerable See also:

• SCALE
• SCALE (1) A

scale in 1489 at See also:

• TORTONA (anc. Dertona)

Tortona, before See also:

• DUKE (corresponding to Fr. duc, Ital. duca, Ger. Herzog)

Duke Galeazzo of See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan . It soon became a common amusement on great occasions at the See also:

• EUROPEAN

European courts . The See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary length was five acts, each containing several entrees, and each entree containing several quadrilles . The accessories of See also:

• PAINTING

painting, See also:

• SCULPTURE
• SCULPTURE (Lat. sculptura, from sculpere, to carve, cognate with Gr. yXb4ew)

sculpture and movable scenery were employed, and the representation often took place at See also:

• NIGHT

night . The allegorical, moral and ludicrous ballets were introduced to France by Baif in the time of Catherine de' Medici . The complex nature of these exhibitions may be gathered from the See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title of one played at See also:

• TURIN

Turin in 1634 La venita nemica della apparenza, sollevata dal tempo .

Of the ludicrous, one of the best known was the Venetian ballet of I a verita raminga . Now and then, however, a high political aim may be discovered, as in the " Prosperity of the Arms of France," danced before See also:

• RICHELIEU, ARMAND EMMANUEL SOPHIE SEPTEMANIE DU PLESSIS
• RICHELIEU, ARMAND JEAN DU PLESSIS
• RICHELIEU, LOUIS FRANCOIS ARMAND DU PLESSIS

Richelieu in 1641, or " See also:

• RELIGION
• RELIGION, FOLKLORE, CUSTOM

Religion uniting Great Britain to the rest of the World," danced at London on the marriage of Princess Elizabeth to the elector See also:

• FREDERICK
• FREDERICK (Mod. Ger. Friedrich; Ital. Federigo; Fr. Frederic and Federic; M.H.G. Friderich; O.H.G. Fridurih, " king or lord of peace," from O.H.G. fridu, A.S. frith, " peace," and rfh " rich," " a ruler," for derivation of which see HENRY)

Frederick . Outside the theatre, the Portuguese revived an See also:

• AMBULATORY (Med. Lat. ainbulatorium, a place for walking, from ambulare, to walk)

ambulatory ballet which was played on the See also:

• CANONIZATION

canonization of Carlo See also:

• BORROMEO, CARLO (1538–1584)

Borromeo, and to which they gave the name of the Tyrrhenic Pomp . During this time also the ceremonial ball (with all its elaborate detail of courante, minuet and saraband) was cultivated . The fathers of the church assembled at See also:

• TRENT
• TRENT (Lat. Tridentum; Ital. Trento; Ger. relent)
• TRENT, COUNCIL OF

Trent gave a ball in which they took a part . Masked balls, too, resembling in some respects the See also:

• ROMAN

Roman Saturnalia, became common towards the end of the 17th century . In France a ball was sometimes diversified by a masquerade, carried on by a limited number of persons in character-costume . Two of the most famous were named " au Sauvage " and " des Sorciers." In 1715 the See also:

• REGENT (from Lat. regere, to rule)

regent of France started a See also:

• SYSTEM

system of public balls in the opera-house, which did not succeed . Dancing, also, formed a leading element in the Opera See also:

• FRANCAIS, ANTOINE, COUNT (1756-1836)

Francais introduced by See also:

• QUINAULT, PHILIPPE (1635-1688)

Quinault . His subjects were chiefly marvellous, drawn from the classical mythologies; and the choral dancing was not merely divertissement, but was intended to assist and enrich the dramatic See also:

• ACTION

action of the whole piece . Musical Gymnastics.—Dancing is an important See also:

• BRANCH (from the Fr. branche, late Lat. branca, an animal's paw)

branch of physical education . Long ago See also:

• LOCKE, GOTTFRIED CHRISTIAN FRIEDRICH (1791–1855)
• LOCKE, JOHN (1632-1704)
• LOCKE, MATTHEW (c. 1630-1677)

Locke pointed out (Education, §§ 67, 196) that the effects of dancing are not confined to the body; it gives to children, he says, not mere outward gracefulness of motion, but manly thoughts and a becoming confidence .

Only lately, however, has the advantage been recognized of making gymnastics attractive by connecting it with what See also:

• HOMER, WINSLOW (1836-191o)

Homer calls " the sweetest and most perfect of human enjoyments." . The See also:

• PRACTICAL

practical principle against heavy weights and intense monotonous exertion of particular muscles was thus stated by See also:

• SAMUEL

Samuel Smiles (Physical Education, p . 148):—" The greatest benefit is derived from that exercise which calls into action the greatest number of muscles, and in which the action of these is intermitted at the shortest intervals." It required only one further step to see how, if light and changing movements were desirable, music would prove a powerful stimulus to gymnastics . It touches the play-impulse, and substitutes a spontaneous flow of See also:

• ENERGY (from the Gr. ivipyela; iv, in, ipyov, work)

energy for the See also:

• MECHANICAL

mechanical effort of the will . The force of See also:

• IMITATION (Lat. imitatio, from intitari, to imitate)

imitation or contagion, one of the most valuable forces in education, is also much increased by the state of exhilaration into which dancing puts the system . This idea was embodied by See also:

• FROEBEL, FRIEDRICH WILHELM AUGUST (1782-1852)

Froebel in his See also:

• KINDERGARTEN

Kindergarten plan, and was developed by See also:

• JAHN, FRIEDRICH LUDWIG (1778-1852)
• JAHN, JOHANN (1750—1816)
• JAHN, OTTO (1813—1869)

Jahn and Schreber in Germany, by Dio See also:

• LEWIS, HENRY CARVILL
• LEWIS, JOHN FREDERICK (180 1876)
• LEWIS, MATTHEW GREGORY (1775-1818)
• LEWIS, MERIWETHER (1774-1809)
• LEWIS, SIR GEORGE CORNEWALL, BART

Lewis in the See also:

• UNITED

United States, and by See also:

• LING, PER HENRIK (1776-1839)

Ling (the author of the See also:

• SWEDISH

Swedish Cure Movement) in See also:

• SWEDEN
• SWEDEN [Sverige]
• SWEDEN, NORWAY AND

Sweden . (W . C . S.; A . B . F .