* A Project Gutenberg Canada Ebook * This ebook is made available at no cost and with very few restrictions. These restrictions apply only if (1) you make a change in the ebook (other than alteration for different display devices), or (2) you are making commercial use of the ebook. If either of these conditions applies, please check gutenberg.ca/links/licence.html before proceeding. This work is in the Canadian public domain, but may be under copyright in some countries. If you live outside Canada, check your country's copyright laws. IF THE BOOK IS UNDER COPYRIGHT IN YOUR COUNTRY, DO NOT DOWNLOAD OR REDISTRIBUTE THIS FILE. Title: Ball-Room Dancing Without a Master, and complete guide to the Etiquette, Toilet, Dress and Management of the ball-room; with all the Principal Dances in Popular Use. Author: [Anonymous] Illustrator: [Anonymous] Date of first publication: 1872 Place and date of edition used as base for this ebook: [New York]: Hurst & Company, 1872 (First Edition) Date first posted: 7 November 2008 Date last updated: 7 November 2008 Project Gutenberg Canada ebook #195 This ebook was produced by: David T. Jones & the Online Distributed Proofreading Team at http://www.pgdpcanada.net This file was produced from images generously made available by The Internet Archive/Dance Manuals BALL-ROOM DANCING WITHOUT A MASTER, AND COMPLETE GUIDE TO THE Etiquette, Toilet, Dress and Management OF THE BALL-ROOM; WITH ALL THE PRINCIPAL DANCES IN POPULAR USE. CONTENTS PAGE How to Organize a Ball 5 Ball Room Toilette 9 Etiquette of the Ball Room 11 The Quadrille 17 Cheat Figure 23 Jig Figure 24 Basket Figure 24 Double Quadrille 24 The Polka 26 The Schottische 28 The Redowa 29 Polka Mazourka 31 Spanish Waltz 31 The Valse à deux Temps 33 The Galop 34 The Mazourka Valse 35 The Waltz Cotillion 35 Lancers 36 The Tempête 39 The Caledonians 41 Couple Dances 42 The New Valse Cotillion 43 Virginia Reel 46 The Varsoviana 47 The Gorlitza 48 The New Valse 50 Pop Goes the Weasel 51 Merrie England 51 Polka Country Dance 52 The Triumph 52 Highland Reel 53 Arkansas Traveller 53 Portland Fancy Figure ("Tempest") 53 Camptown Hornpipe 54 Jordan am a Hard Road 54 Soldier's Joy 54 London Polka Quadrille 55 Flower Girl's Dance 56 Circassian Circle 56 Tempest 57 Rustic Reel 57 Devil's Dream 57 Glossary of French Terms used in Dancing 58 _Entered according to Act of Congress, in the year 1872, by_ HURST & COMPANY, _in the Office of the Librarian of Congress, at Washington, D.C._ BALL-ROOM DANCING WITHOUT A MASTER. ----------------- HOW TO ORGANIZE A BALL. As the number of guests at a dinner party is regulated by the size of the table, so should the number of invitations to a ball be limited by the proportions of the ball-room. A prudent hostess will always invite a few more guests than she really desires to entertain, in the certainty that there will be some deserters when the appointed evening comes round; but she will at the same time remember that to overcrowd her room is to spoil the pleasure of those who love dancing, and that a party of this kind when too numerously attended is as great a failure as one at which too few are present. A room which is nearly square, yet a little longer than it is broad, will be found the most favorable for a ball. It admits of two quadrille parties, or two round dances, at the same time. In a perfectly square room this arrangement is not so practicable or pleasant. A very long and narrow room is obviously of the worst shape for the purpose of dancing, and is fit only for quadrilles and country dances. The top of the ball-room is the part nearest the orchestra. In a private room, the top is where it would be if the room were a dining-room. It is generally at the farthest point from the door. Dancers should be careful to ascertain the top of the room before taking their places, as the top couples always lead the dances. A good floor is of the last importance in a ball-room. In a private house, nothing can be better than a smooth, well-stretched holland, with the carpet beneath. Abundance of light and free ventilation are indispensable to the spirits and comfort of the dancers. Good music is absolutely necessary to the prosperity of a ball. No hostess should tax her friends for this part of the entertainment. It is the most injuducious economy imaginable. Ladies who would prefer to dance are tied to the pianoforte; and as few amateurs have been trained in the art of playing dance music with that strict attention to time and accent which is absolutely necessary to the comfort of the dancers, a total and general discontent is sure to be the result. To play dance music thoroughly well is a branch of the art which requires considerable practice. It is as different from every other kind of playing as whale fishing is from fly fishing. Those who give private balls will do well ever to bear this in mind, and to provide skilled musicians for the evening. For a small party, a piano and cornopean make a very pleasant combination. Unless where several instruments are engaged we do not recommend the introduction of the violin: although in some respects the finest of all solo instruments, it is apt to sound thin and shrill when employed on mere inexpressive dance tones, and played by a mere dance player. Invitations to a ball should be issued in the name of the lady of the house, and written on small note paper of the best quality. Elegant printed forms, some of them printed in gold or silver, are to be had at every stationer's by those who prefer them. The paper may be gilt-edged, but not colored. The sealing-wax used should be of some delicate hue. An invitation to a ball should be sent out at least ten days before the evening appointed. A fortnight, three weeks, and even a month may be allowed in the way of notice. Not more than two or three days should be permitted to elapse before you reply to an invitation of this kind. The reply should always be addressed to the lady of the house, and should be couched in the same person as the invitation. The following are the forms generally in use:-- Mrs. Molyneux requests the honor of Captain Hamilton's company at an evening party, on Monday, March the 11th instant. _Dancing will begin at Nine o'clock._ Thursday, March 1st. Captain Hamilton has much pleasure in accepting Mrs. Molyneux's polite invitation for Monday evening, March the 11th instant. Friday, March 2nd. The old form of "presenting compliments" is now out of fashion. If Mrs. Molyneux writes to Captain Hamilton in the first person, as "My dear Sir," he is bound in etiquette to reply "My dear Madam." The lady who gives a ball[1] should endeavor to secure an equal number of dancers of both sexes. Many private parties are spoiled by the preponderance of young ladies, some of whom never get partners at all, unless they dance with each other. A room should in all cases be provided for the accommodation of the ladies. In this room there ought to be several looking-glasses; attendants to assist the fair visitors in the arrangement of their hair and dress; and some place in which the cloaks and shawls can be laid in order, and found at a moment's notice. It is well to affix tickets to the cloaks, giving a duplicate at the same time to each lady, as at the public theatres and concert-rooms. Needles and thread should also be at hand, to repair any little accident incurred in dancing. Another room should be devoted to refreshments, and kept amply supplied with coffee, lemonade, ices, wine, and biscuits during the evening. Where this cannot be arranged, the refreshments should be handed round between the dances. [Footnote 1: It will be understood that we use the word "ball" to signify a private party where there is dancing, as well as a public ball.] The question of supper is one which so entirely depends on the means of those who give a ball or evening party, that very little can be said upon it in a treaties of this description. Where money is no object, it is of course always preferable to have the whole supper, "with all appliances and means to boot," sent in from some first-rate house. It spares all trouble whether to the entertainers or their servants, and relieves the hostess of every anxiety. Where circumstances render such a course imprudent, we would only observe that a home-provided supper, however simple, should be good of its kind, and abundant in quantity. Dancers are generally hungry people, and feel themselves much aggrieved if the supply of sandwiches proves unequal to the demand. BALL-ROOM TOILETTE. LADIES. The style of a lady's dress is a matter so entirely dependent on age, means and fashion, that we can offer but little advice upon it. Fashion is so variable, that statements which are true of it to-day may be false a month hence. Respecting no institution of modern society is it so difficult to pronounce half a dozen permanent rules. We may perhaps be permitted to suggest the following leading principles; but we do so with diffidence. Rich colors harmonize with rich brunette complexions and dark hair. Delicate colors are the most suitable for delicate and fragile styles of beauty. Very young ladies are never so suitably attired as in white. Ladies who dance should wear dresses of light and diaphanous materials, such as _tulle_, gauze, crape, net, &c., over colored silk slips. Silk dresses are not suitable for dancing. A married lady who dances only a few quadrilles may wear a _decolletee_ silk dress with propriety. Very stout persons should never wear white. It has the effect of adding to the bulk of the figure. Black and scarlet, or black and violet, are worn in mourning. A lady in deep mourning should not dance at all. However fashionable it may be to wear very long dresses, those ladies who go to a ball with the intention of dancing and enjoying the dance, should cause their dresses to be made short enough to clear the ground. We would ask them whether it is not better to accept this slight deviation from an absurd fashion, than to appear for three parts of the evening in a torn and pinned-up skirt? Well-made shoes, whatever their color or material, and faultless gloves, are indispensable to the effect of a ball-room toilette. Much jewelry is out of place in a ball-room. Beautiful flowers, whether natural or artificial, are the loveliest ornaments that a lady can wear on these occasions. GENTLEMEN. A black suit, thin enamelled boots, a white neck-cloth, and white or delicate grey gloves, are the chief points of a gentleman's ball-room toilette. He may wear an embroidered shirt; and his waistcoat may be of silk. White waistcoats are no longer fashionable. Much display of jewelry is no proof of good taste. A handsome watch-chain, with, perhaps, the addition of a few costly trifles suspended to it, and a set of shirt-studs, are the only adornments of this kind that a gentleman should wear. The studs should be small but good. A gentleman's dress is necessarily so simple that it admits of no compromise in point of quality and style. The material should be the best that money can procure, and the fashion unexceptionable. So much of the outward man depends on his tailor, that we would urge no gentleman to economize in this matter. ETIQUETTE OF THE BALL-ROOM. On entering the ball-room, the visitor should at once seek the lady of the house, and pay his respects to her. Having done this he may exchange salutations with such friends and acquaintances as may be in the room. If the ball be a public one, and a gentleman desires to dance with any lady to whom he is a stranger, he must apply to the master of the ceremonies for an introduction. Even in private balls, no gentleman can invite a lady to dance without a previous introduction. This introduction should be effected through the lady of the house, or a member of her family. No lady should accept an invitation to dance from a gentleman to whom she has not been introduced. In case any gentleman should commit the error of so inviting her, she should not excuse herself on the plea of a previous engagement, or of fatigue, as to do so would imply that she did not herself attach due importance to the necessary ceremony of introduction. Her best reply would be to the effect that she would have much pleasure in accepting his invitation, if he would procure an introduction to her. This observation may be taken as applying only to public balls. At a private party the host and hostess are sufficient guarantees for the respectability of their guests; and although a gentleman would show a singular want of knowledge of the laws of society in acting as we have supposed, the lady who should reply to him as if he were merely an impertinent stranger in a public assembly-room, would be implying an affront to her entertainers. The mere fact of being assembled together under the roof of a mutual friend, is in itself a kind of general introduction of the guests to each other. An introduction given for the mere purpose of enabling a lady and gentleman to go through a dance together, does not constitute on acquaintanceship. The lady is at liberty to pass the gentleman in the park the next day without recognition. No gentleman should venture to bow to a lady upon the strength of a ball-room introduction, unless she does him the honor to recognize him first. If he commits this solecism he must not be surprised to find that she does not return his salutation. No gentleman should accept an invitation to a ball if he does not dance. When ladies are present who would be pleased to receive an invitation, those gentlemen who hold themselves aloof are guilty, not only of a negative, but a positive act of neglect. To attempt to dance without a knowledge of dancing is not only to make one's self ridiculous, but one's partner also. No lady or gentleman has the right to place a partner in this absurd position. Never forget a ball-room engagement. To do so is to commit an unpardonable offence against good breeding. It is not necessary that a lady or gentleman should be acquainted with the _steps_, in order to walk gracefully and easily through a quadrille. An easy carriage and a knowledge of the figure is all that is requisite. A round dance, however, should on no account be attempted without a thorough knowledge of the steps, and some previous practice. No person who has not a good ear for time and tone need hope to dance well. At the conclusion of a dance, the gentleman bows to his partner, and either promenades with her round the room, or takes her to a seat. Where a room is set apart for refreshments, he offers to conduct her thither. At a public ball no gentleman would, of course, permit a lady to pay for refreshments. No lady should accept refreshments from a stranger at a public ball; for she would thereby lay herself under a pecuniary obligation. For these she must rely on her father, brothers, or old friends. Good taste forbids that a lady and gentleman should dance too frequently together at either a public or private ball. Engaged persons should be careful not to commit this conspicuous solecism. Engagements for one dance should not be made while the present dance is yet in progress. If a lady happens to forget a previous engagement, and stand up with another partner, the gentleman whom she has thus slighted is bound to believe that she has acted from mere inadvertance, and should by no means suffer his pride to master his good temper. To cause a disagreeable scene in a private ball-room is to affront your host and hostess, and to make yourself absurd. In a public room it is no less reprehensible. Always remember that good breeding and good temper (or the appearance of good temper) are inseparably connected. Young gentlemen are earnestly advised not to limit their conversation to remarks on the weather and the heat of the room. It is, to a certain extent, incumbent on them to do something more than dance when they invite a lady to join a quadrille. If it be only upon the news of the day, a gentleman should be able to offer at least three or four observations to his partner in the course of a long half-hour. Gentlemen who dance cannot be too careful not to injure the dresses of the ladies who do them the honor to stand up with them. The young men of the present day are singularly careless in this respect; and when they have torn a lady's delicate skirt, appear to think the mischief they have done scarcely worth the trouble of an apology. A gentleman conducts his last partner to the supper-room, and having waited upon her while there, re-conducts her to the ball-room. Never attempt to take a place in a dance which has been previously engaged. Withdraw from a private ball-room as quietly as possible, so that your departure may not be observed by others, and cause the party to break up. If you meet the lady of the house on her way out, take your leave of her in such a manner that her other guests may not suppose you are doing so; but do not seek her out for that purpose. From eighteen to twenty-one dances is a convenient number to arrange for. Supper causes a convenient break after, say, the twelfth dance, and if, at the end of the ball-list, there is still a desire to prolong the ball, one or two extra dances are easily improvised. A ball should commence with a quadrille, followed by a waltz. Quadrilles and waltzes, including galops, indeed form the chief features of the modern ball. A polka, a schottische, a polka mazourka, or even a varsoviana, may be thrown in as an occasional relief, just as a country-dance is often tolerated as a finale; but these dances are only tolerated. As a guide, we append a copy of a _programme du bal_, as used at Her Majesty's balls, given at Buckingham Palace, and, of course, followed as a guide in good society. Programme. Engagements. 1 QUADRILLE............... 1...................... 2 WALTZ................... 2...................... 3 QUADRILLE............... 3...................... 4 WALTZ................... 4...................... 5 LANCERS................. 5...................... 6 GALOP................... 6...................... 7 QUADRILLE............... 7...................... 8 WALTZ................... 8...................... 9 QUADRILLE............... 9...................... 10 WALTZ................... 10...................... 11 QUADRILLE............... 11...................... 12 WALTZ................... 12...................... 13 LANCERS................. 13...................... 14 GALOP................... 14...................... 15 QUADRILLE............... 15...................... 16 WALTZ................... 16...................... 17 QUADRILLE............... 17...................... 18 WALTZ................... 18...................... 19 LANCERS................. 19...................... 20 GALOP................... 20...................... Formerly at public balls a Master of the Ceremonies was considered indispensable; but this custom is going out, and his duties are performed by the stewards, who are often distinguished by a tiny rosette, or arrangement of a single flower and a ribbon in the button-hole. These superintend the dances, and gentlemen desiring to dance with ladies apply to them for introductions. THE QUADRILLE. The quadrille is the most universal, as it is most certainly the most sociable of all fashionable dances. It admits of pleasant conversation, frequent interchange of partners, and is adapted to every age. The young or old, the ponderous _pater familias_, or his sylph-like daughter, may with equal propriety take part in its easy and elegant figures. Even an occasional blunder is of less consequence in this dance than in many others; for each personage is in some degree free as to his own movements, not being compelled by the continual embrace of his partner to dance either better or worse than he may find convenient. People now generally walk through a quadrille. Nothing more than a perfect knowledge of the figure, a graceful demeanor, and a correct ear for the time of the music are requisite to enable any one to take a creditable part in this dance. Steps are quite gone out of fashion: even the _chasse_ has been given up for some time past. A quadrille must always consist of five parts. If a variation be made in the fourth figure, by the substitution of _Pastorale_ for _Trenise_, the latter must then be omitted; or _vice versa_. As soon as a gentleman has engaged his partner for the quadrille, he should endeavor to secure as his _vis-à-vis_ some friend or acquaintance; and should then lead his partner to the top of the quadrille, provided that post of honor be still vacant. He will place the lady always at his right hand. Quadrille music is divided into eight bars for each part of the figure; two steps should be taken in every bar; every movement thus invariably consists of eight or of four steps. It is well not to learn too many new figures: the memory is liable to become confused amongst them; besides which, it is doubtful whether your partner, or your _vis-à-vis_, is as learned in the matter as yourself. Masters are extremely fond of inventing and teaching new figures; but you will do well to confine your attention to a few simple and universally received sets, which you will find quite sufficient for your purpose. We begin with the oldest and most common, the FIRST SET OF QUADRILLES. [Illustration: Fig. 1.] The set is composed of eight persons--four ladies and four gentlemen. Two couples to form the top and bottom, and two to form the sides. The gentlemen place themselves on the left of their partners. (_See Fig._ 1.) Before commencing a description of the Quadrilles or square dances, in order to save a repetition of terms, I would wish the readers of this book to bear in mind the following instructions: In all cases where you have to cross the opposite side, turn your partner, or make use of the ladies' chain, use seven walking steps, and bring the left foot up behind for the eighth. When you have to advance and retire, or set to your partner, use three walking steps forward, and bring the left foot up behind, and retire by walking back, first with the left then with the right--with the left again, and bring your right foot up to the left to finish. FIRST FIGURE--_La Pantalon._--The first part of this figure is called half right and left, because you pass on the right hand side of the first person you meet in crossing, and the left hand side of your own partner; when you get across, repeat the same to your place [taking the course indicated in Fig. 2], turn facing your partner. Set--taking care to pass on the right hand side of each other, give the right hand and turn. The black dots represent the gentlemen, the rings the ladies. 1 takes the course indicated to arrive at 4; 2 takes the course indicated to arrive at 3; 3 takes the course indicated to arrive at 2; 4 takes the course indicated to arrive at 1. [Illustration: Fig. 2] LADIES' CHAIN.--The ladies cross, giving their right hands to each other, and the left to the opposite gentleman--the same back to place. The gentlemen move round behind their partners, giving the opposite lady their left hand, and the same movement is repeated to meet their partners (_see Fig._ 3). Keep the hands--cross over to opposite side--then half right and left to finish. The side couples repeat this figure. The ladies' course is indicated by Fig. 4, the gentlemen by Fig. 5. [Illustration: Fig. 3.] SECOND FIGURE--_L'Eté._--Top lady and opposite gentleman advance and retire, then cross over, in a semi-circle; repeat these two movements to get to your places. Set to partners and turn. The side couples repeat the figure. [Illustration: Fig. 4.] [Illustration: Fig. 5.] THIRD FIGURE--_La Poule._--The top lady and opposite gentleman cross over, lightly touching the right hand as they pass, return again, this time retain the left hand, all four form a chain, make one small step forward, and one back, do this twice, then cross over to the opposite couples' place, the couple who are dancing the figure advance and retire twice, give the nearest hand to your partner, all four advance and retire, then half right and left, the same as in the first figure, to finish. FOURTH FIGURE--_La Pastorale._--Top lady and her partner advance and retire, the lady now crosses, the gentleman leaving her half way, retires alone; the opposite gentleman now advances with the two ladies, taking their outside hands. The two ladies now cross to the other gentleman. The gentleman who leads them retires alone. The three advance and retire from the other side, then all three cross over, give hands round, cross over to opposite sides. Half right and left to finish. The side couples repeat the figure. TRENISE.--The top lady and her partner advance and retire, they then advance again, the gentleman leaving the lady opposite him. The two ladies cross to the opposite side. The top gentleman advances to meet his partner, the bottom lady returns to her place; set to partners and turn. FINALE.--All join hands round, advance and retire twice. The top and bottom couples advance and retire, then cross over. Repeat the same again. Ladies chain, and hands round. In crossing do not alter the side on which you stand, but go straight across. CHEAT FIGURE. Begin with first couple balancing to the right, turning opposite persons with both hands. Balance to next couple, then to fourth, and then balance and turn partners. The third, second and fourth couples follow the same order. You have the privilege of turning with the person who presents hands or not, and any one can step in between you while balancing, thus cheating you in turning, or you can appear to turn to one person and then suddenly turn to another. JIG FIGURE. Opens with hands all round. The ladies then leave their partners and balance to the next gentleman on their right, and turn. Upon reaching her partner all balance to partners and turn. Hands all round again, gentlemen balance to the right and repeat the same movement. BASKET FIGURE. Head couples forward and balance. The ladies join hands round in the centre, the gentlemen forming a circle outside. Gentlemen stop on the left hand side of their partners and pass their hands, joined, over the heads of the ladies, allowing the ladies to pass backward and rise on the outside, thus forming a basket. Balance and turn partners. Sides repeat. DOUBLE QUADRILLE. There is a variation of the First Set, known as Coulon's Double Quadrille, which is sometimes danced to secure an agreeable variety during a ball. It requires the ordinary quadrille music, but only half that usually played to each figure. 1. _Le Pantalon._--The peculiarity is, that all the couples, sides as well as top and bottom, start at once. Double _chaine Anglaise_; sides outside first and second couples. All couples set and turn. Ladies' hands across, first right hand and then left, and back to places. Half promenade. First and second couples, _chaine Anglaise_; third and fourth, _grande chaine_ round them to places. 2. _L'Eté._--Common single _L'Eté_, with this difference, that the first lady and first side lady commence at the same time to perform the figure with their gentlemen _vis-à-vis_. Lady of second couple and second side repeat, with gentlemen opposite. 3. _La Poule._--Similar arrangement to that in last figure; the two couples setting in cross lines. 4. _La Pastorale._--The top couple dance with the right side couple; the bottom with the left. The sides repeat, with top and bottom couples in like manner. 5. _Finale._--Galopade round, top and bottom couple continuing it to centre of figure and back, then sides advance to centre and back, and, as they retreat, top and bottom couples galopade into each other's places. Side couples do the same. Then repeat figure until all have regained their own places. Double _chaine des dames_, and galopade round. Figure repeated, sides commencing; the galop concluded. THE POLKA. The polka has had its day. It is just tolerated in the ball-room, but should not be given more than once during an evening. Brief directions will convey the manner of dancing the polka as now practised; but no one should attempt it without previous instructions, as everything depends on the grace with which it is executed. Those who have learnt the dance will pardon our pointing out one or two vulgarisms which it is easy to fall into. A hopping or jumping movement is singularly ungraceful--so is the habit many have of kicking out their heels to the endangerment of the shins of other dancers. The feet should scarcely be lifted from the ground--the dancers sliding rather than hopping--and the steps should be taken in the smallest compass, and in the very neatest manner. Again, the elbows should not be stuck out, nor the hands extended at arm's length, or placed upon the hip. After going through several mutations, the polka has come to be danced with a circular movement only--in that respect resembling the valse. This is the manner of it, supposing a gentleman to be the dancer: You will clasp your partner lightly round the waist with your right hand, and take her right hand in your left, holding it down by your side, without stiffness or restraint. The lady places her left hand on your shoulder, so that you may partially support her. [Illustration: Fig. 6.] [Illustration: Fig. 7.] Although there are actually four quavers in each bar of music, in this dance there are only three movements in the dance itself. Before commencing the gentleman places his left foot behind the other, resting it slightly on the toe. (_See Fig._ 6.) The lady commences with the right foot. FIRST MOVEMENT.--Slide the foot with which you commence to the side [to the extent of the length of the foot]. (_See Fig._ 7.) SECOND MOVEMENT.--Bring the heel of the other foot to the heel of the first one, rising slightly on the toe. (_See Fig._ 8.) THIRD MOVEMENT.--Spring lightly on the toe of the foot with which you commenced; pass the other foot behind ready to commence on the other side. In practising the turn it is an excellent plan to place a chair in the centre of the room and dance round it, going as close as possible without touching. [Illustration: Fig. 8.] THE SCHOTTISCHE. The difference between the time of this dance and that of the polka is, that the four quavers in the bar are all marked in the step itself, and the dance is played slower. The first, second, and third movements are the same as the polka, and for the fourth, spring lightly on the toe of the foot, with which you commenced; then, as in the polka, make the step with the other foot. Having made the full step from side to side, you make the half step, by springing lightly on the toe of the first foot [left, gentlemen; right, lady]; pass the other foot behind, resting it on the toe, and spring SLIGHTLY on the first foot again. Then repeat the whole of the movement with the other foot. The half step is used for turning. THE REDOWA. This is the most graceful of all Couple Dances; and in order to execute it well, care must be taken to avoid stiffness in the movements. The music is in three-quarter time. [Illustration: Fig. 9.] [Illustration: Fig. 10.] The position in which the feet should be placed before commencing is the _third_, which is made by placing the heel of the right foot to the hollow of the left, the feet to be sufficiently turned, as not to make the dancers uncomfortable. (_See Fig._ 9.) FIRST MOVEMENT.--Spring lightly to the side with the right foot, point the toe of left to second position. (_See Fig._ 10.) SECOND MOVEMENT.--Slide the left foot forward, pointing the toe of the right foot behind. (_See Fig._ 11.) [Illustration: Fig. 11.] THIRD MOVEMENT.--Bring the right foot up behind the left to the third position, then commence the step with the left foot. Before attempting the backward step, with which the gentleman always commences these dances, practise well the forward step. To make the backward step, spring upon the left foot, pass the right foot behind, then bring the left foot up to the third position, in front of the right. This dance should be well practised up and down the room before attempting to turn. POLKA MAZOURKA. This dance is in three-quarter time, and commences from the same position as the Polka. FIRST MOVEMENT.--Slide the foot to the side, as in the Polka. SECOND MOVEMENT.--Same as Polka. THIRD MOVEMENT.--Instead of springing upon the first foot, and passing the other behind, pass the first foot behind the other, upon which you spring lightly. SPANISH WALTZ. The old Valse step is used in this dance, which is performed in the following manner: FIRST STEP.--Pass your left foot backward in the direction of the left. SECOND STEP.--Pass your right foot past your left in the same direction, care being taken to keep the right foot behind the left. THIRD STEP.--Bring the left up behind the right, completing one bar, then pass right foot forward toward the right. Pass left foot forward still toward the right, then bring right foot up to right, turning at the same time on both feet and completing the turn. Always finish with the right foot in front. This description is intended for the gentlemen: for a lady, "right" is substituted for "left." Arrange the couples in long parallel lines, as if standing up for a country dance. If the top gentleman stands on the lady's side, and the top lady on that of the gentleman, and every fourth lady and gentleman exchange places in like manner, the dance can commence simultaneously. The first gentleman and second lady of each set of four, set to each other with the Valse step and change places: the first lady and second gentleman do the same at the same time. First gentleman and his partner set and change places, second gentleman and partner do the same. First gentleman and second lady set and change as before, first lady and second gentleman ditto. Then first gentleman and second lady set to their respective partners, as before, and change, each resuming their original position. All four join hands in the centre, advance, retire, and change places as before--ladies passing to the left. This is done as in the preceding figure, four times. Next, each gentleman takes his partner, and the two couples valse round each other two or three times, ending by the second lady and gentleman taking their places at the top of the line, while the top couple go through the same figures with the third lady and gentlemen's, with the fourth, and so proceed to the end of the line, where they remain. THE VALSE À DEUX TEMPS. This dance is at present more in use than any other "Couple Dance;" the music is written in three-quarter time, _i. e._, three crotchets in a bar. Commence from the same position as in the Redowa. (_See Fig._ 9.) [Illustration: Fig. 12.] [Illustration: Fig. 13.] FIRST MOVEMENT.--Slide the right foot forward. (_See Fig._ 12.) SECOND MOVEMENT.--Bring the left foot up to the third position, close behind the right. (_See Fig._ 13.) THIRD MOVEMENT.--Slide the right foot again forward. (_See Fig._ 14.) [Illustration: Fig. 14.] [Illustration: Fig. 15.] Having completed the step with the right foot, commence with the left. In the backward step commence by sliding the left foot back. (_See Fig._ 15) In practising the step up and down the room, the gentleman commences with the left foot, and makes the step backward. THE GALOP. Although the time of this dance is totally different from the Valse, the portion of it used in turning is exactly the same. In going straight down the room, one foot only is continually in front [left foot, gentleman; right foot, lady]. Slide the front foot forward, bring the other foot up quickly behind, and slide the front again. Continue this movement till you wish to turn, then use the Valse step. THE MAZOURKA VALSE. The time of this dance is the old Valse played slower. The gentleman commences from the Valse position (_see Figure_) with the left foot and the lady with the right. FIRST MOVEMENT.--Slide the foot forward and spring lightly on it twice. SECOND MOVEMENT.--Repeat the first movement with the other foot; having practised this portion of the step well from side to side, you may turn with it. THIRD MOVEMENT.--Spring on each foot in succession, striking the heels together, then slide to the side. This portion of the step is seldom if ever used now, the dancers generally finish with the old Valse step after using the first and second movements as described. THE WALTZ COTILLION. In this dance the couples form the same as for a Quadrille. The old Valse step or (trois temps) is used (for a description of which see page 31). Top couple walk round inside the set till sixteen bars of the music has been played; then the top and bottom ladies advance, retire, advance again, and cross over, turning. (This occupies eight bars of the music.) The top and bottom gentlemen do the same. This is repeated by the ladies and gentlemen at the side. The top and bottom couples walk to their places, and the side couples to theirs. All set to partners with the Valse step, and turn half round with right hands, finishing opposite the next lady or gentleman at your side. Repeat this till all in places again. Form two lines, all advance twice, then cross over--the same to get to places. All walk round. It is usual to perform the whole of the figures four times, but of course it will be left to the discretion of the dancers to continue the figures if they wish. Two or three chords are usually struck before commencing the dance. LANCERS. [Illustration: Fig. 16.] FIRST FIGURE.--Top lady and opposite gentleman advance and retire, then advance and swing quite round, top lady and gentleman change places with opposite couple, passing in the centre and return to places (_see Fig._ 16) passing outside; set to corners and turn (_see Fig._ 17). The other six do the same. [Illustration: Fig. 17.] SECOND FIGURE.--Top lady and gentleman advance and retire, advance again, this time the gentleman leaves his partner in the centre, facing him, and retires alone, both advance, retire, advance and turn. Form two lines at top and bottom, the side couples joining the couples on their right. When the side couples dance this figure, the lines are formed at the side. THIRD FIGURE.--Top lady advances alone, then the opposite gentleman does the same, lady curtseys, gentleman bows, both retire. The four ladies give the right hands across, and dance round to the left--then change hands, and dance round to the right, the gentlemen dance round singly, the reverse way to the ladies, changing as they change. There is another way of dancing this figure, thus: Instead of the ladies giving hands across, they join hands and dance round in one direction. The gentlemen join hands and dance round the ladies in the opposite direction. FOURTH FIGURE.--Top lady and gentleman advance to the couple on their right, bow, then to the opposite side couple, and bow to them, all the four face partners, advance, retire, and advance into places; the top and bottom couple half right and left, the same as in the first figure of the first set of quadrilles. The other couples do the same. [Illustration: Fig. 18.] FIFTH FIGURE.--Grande Chaine, giving right and left hands all round, till all in places (_see Fig._ 18). Top lady and gentleman advance to the top, standing with their backs to the bottom couple: the second lady and gentleman on their right place themselves behind them, the couple on their left behind the second couple, and, finally, the bottom couple place themselves behind the other three couples, advance and retire, across and back, the gentlemen turn off to the left, and the ladies to the right (_see Fig._ 19), gentlemen following first gentleman, and the ladies following first lady; when all are returned to the former situation they form two lines (_see Fig._ 19), each gentleman facing his partner and chassée forward and back, each gentleman turns his partner into her own place. The other six do the same. [Illustration: _Starting Point_. Fig. 19.] THE TEMPÊTE. The set is generally formed with eight persons, four ladies and four gentlemen. Stand as for a Quadrille (without side couples); as many sets as the room can accommodate may stand up at one time. FIRST PART OF THE DANCE.--After eight bars of the music have been played, commence by all the couples joining hands, advance and retire twice, using the same step as in the Quadrille. The top couples (in each set) cross with hands joined and take the place of the bottom couples; the bottom couples cross at the same time, but, instead of keeping the hands joined they separate and pass outside the others to the top, they then join hands and return to their places and back again. The top couples of course separate in their turn and pass outside; the _second_ couples join hands, and all return to their own places. The lady and gentleman in the middle of each line give their hands to their _vis-à-vis_, and dance half round to their left and half round to their places again. While this is being done the outside lady and gentleman in each line give their hands to the lady or gentleman opposite, then half left and half right to places. Now all form circles, right hands across, dance round, change hands and dance, back to place. SECOND PART.--All lines advance, retire, and advance again. Top line pass through the line formed by their _vis-à-vis_, and so get into the next set. Then repeat all the movements described in the first part with your new _vis-à-vis_. The original _vis-à-vis_ will have taken your place, and turn round waiting till they are faced--continue the dance till all have arrived at the place from which they originally started. THE CALEDONIANS. FIRST FIGURE.--Top and opposite couples,--hand across and back again, eight bars; set and turn partners, eight bars; ladies' chain, eight bars; half-promenade, four bars; half right and left, four bars. SECOND FIGURE.--The first gentleman advances and retires twice. The four ladies set to gentlemen on their right, and turn with both hands, each lady taking the next lady's place, all promenade round. THIRD FIGURE.--Top lady and opposite gentleman advance and retire, four bars; back to back, four bars; top couple lead between the opposite couple, return, leading outside, eight bars; set at the corners, and turn with both hands to places, eight bars; all round, eight bars. FOURTH FIGURE.--First lady and opposite gentleman advance and stop, then their partners advance, four bars; turn partners to places, four bars; the four ladies move to the right, into next ladies' places, and stop, four bars; the four gentlemen move to the left into next gentlemen's places, and stop, four bars; ladies repeat the same to right, four bars; gentlemen repeat, the same to left, four bars; all join hands and lead round to places, four bars; all turn partners, four bars. FIFTH FIGURE.--_Finale._--First gentleman leads his partner round, inside the figure, eight bars; the four ladies advance, join right hands, and retire, four bars; then the gentlemen do the same, four bars; all set and turn partners, eight bars; all chain figure half round, eight bars; promenade to places, eight bars; all change sides, join right hands at corners and set, four bars; back again to places, four bars; all promenade. COUPLE DANCES. [Illustration: Fig. 20.] In all Couple Dances, before commencing, the gentleman places his right hand to the lady's waist, so as to form a perfect support--the lady places her right hand in the gentleman's left. Raise the arms to a level with the shoulders. Both shoulders should be parallel. The lady's head turned to the left. (_See Fig._ 20.) THE NEW VALSE COTILLION. This dance is an importation from Paris, and has been used in the upper circles during the last three or four seasons. The figures are very numerous, as additions have been made since its introduction into this country, but the _original_ six figures will be here described. All who wish to join in this dance seat themselves round the room; of course an equal number of ladies and gentlemen is required, and certainly not less than ten couples should be present to make the dance enjoyable. One gentleman should be selected from the company to act as director. FIRST FIGURE.--The first lady at the top of the room takes a seat in the centre (which the gentleman who has been selected to conduct the Cotillion places for her). He presents her with a cushion, which she rests on the floor, still retaining hold of it. The gentleman who conducts the dance then introduces another gentleman to her, who attempts to kneel on the cushion; if the lady does not wish to dance with him, she pulls the cushion away, and he takes his place behind her chair. The next gentleman is then introduced, who makes the attempt to kneel, and unless the lady wishes to dance with him, she serves him in the some manner as the former gentleman; the second gentleman in that case takes the place behind the first. Another and another is introduced, until the lady selects one to dance with. In that case she allows the cushion to remain whilst the gentleman kneels upon it. He having knelt on the cushion, the lady rises, presents her hand to the gentleman, with whom she valses. This is a signal for all the couples to follow their example and valse once or twice round the room. The gentleman who conducts the dance claps his hands as a signal for all to resume their seats. He then selects another lady to take the place of the first one in the centre, and the figure is repeated until he wished to change it. SECOND FIGURE.--The director of the dance leads the first lady again to her seat and presents her with a small hand mirror, into which she gazes. The director then introduces a gentleman behind her chair. Of course his image will be reflected in the mirror, and if the lady does not wish to dance with him, she rubs the surface of the mirror with her pocket handkerchief; this is continued until she has selected a gentleman to dance with, then she presents her hand, which, as in the former and all figures, is a signal for all to valse round the room, till the gentleman who conducts the dance claps his hands. THIRD FIGURE.--The conductor of the dance takes a small basket containing various kinds of flowers (an equal number of each kind should be provided), and presents one of each kind to a lady and gentleman. (Care should be taken not to present flowers of the same kind to ladies and gentlemen sitting next to each other, because the figure loses its interest.) The gentleman on having a flower presented to him, rises, and walks round the circle until he finds the lady who has a corresponding flower. Having found the lady, she rises and valses with him. (Care should be taken to keep in the centre of the room, as in this figure, dancers and gentlemen seeking partners, shall keep clear of each other.) FOURTH FIGURE.--The first lady is led into the centre of the room by the conductor of the dance, who presents her with an orange (sometimes an apple or a ball is substituted); he then selects two or three gentlemen and places them opposite the lady in a line. The lady throws the ball up, and the gentleman who is successful in catching it valses with her; another lady is then selected, and the successful gentleman's place is filled by another. This is continued until all the ladies have occupied the position of the first lady. The director then gives the signal and all valse round. FIFTH FIGURE.--For this figure two, three, or more white aprons with long strings attached, must be provided. The director leads a lady into the centre of the room, and hands her a chair. He then introduces two or three gentlemen to her, and presents them with an apron each, nicely folded. At a given signal they all unfold their aprons, and the first who succeeds in tying it on (having wound the string twice around his body and tied it in a bow in front) claims the privilege of dancing with the lady. This figure is repeated in the same manner as No. 4. SIXTH FIGURE.--All form the same as for the Lancers last figure. The music and step is changed from Valse to Polka time. Give right and left hands alternately, till all in places; then, still keeping the Polka step, form the same as for Sir Roger de Coverley. The two lines advance and retire; advance again, take partners, and finish with a Galop _ad lib_. _Note.--The music for the new Cotillion is the Valse à deux temps. Change to Polka and Galop when necessary._ VIRGINIA REEL, OR Sir Roger de Coverley. It is customary to conclude the evening with some simple, jovial, spirit-stirring dance, in which all, young and old, slim and obese, may take a part. Any _contre danse_ (country dance) answers this purpose; but the prime favorite is Sir Roger de Coverley, which has held its own, in spite of the lapse of time and the mutations of fashion, since the beginning of the last century, at the very least. As many couples as wish to join in this dance, form two lines down the room. Ladies on the left, gentlemen on the right--partners face each other. Commence after a chord is struck by the band. The lady at the top of her line and the gentleman at the bottom advance to each other half way, curtsey and bow, then retire to their respective positions. The gentleman at the top and the lady at the bottom do the same. The top lady and bottom gentleman advance, give both hands, swing round, and return to places. Of course the gentleman at the top and the lady at the bottom do the same. The top couple join hands, and run down to the bottom of the dance; the bottom couple join hands and raise them for the whole of the couples (led by the top couple) to go under, all pass to their places except the original top couple, who remain at the bottom. THE VARSOVIANA. This dance is seldom danced now, though it formerly had a sort of ephemeral popularity. We always considered it a rather boisterous sort of performance, and more suitable for the casino than the private ball-room. The following, however, will convey a distinct idea of the step: _First Part._ Pass the left foot towards the left followed by the right foot in the rear, twice (first bar). Repeat (second bar). During the turn execute one polka step (third bar) and bring your right foot to the front, and wait one bar (fourth bar). Begin as above with right foot, consequently reversing the order of feet throughout the step. _Second Part._ Commence with left foot, one polka step to the left turning partner (first bar). Right foot to the front, and wait a bar (second bar). Polka step, right foot toward the right, and turn partner (third bar). Left foot to front, wait one bar (fourth bar). _Third Part._ Three polka steps, commencing with left foot, toward the left (three bars). Right foot to the front and wait one bar (four bars). Repeat, beginning with right foot (eight bars)--making, in all, sixteen bars, into which the music for this dance is always divided. THE CORLITZA. The time is the same as that of the Schottische, but not quite so quick. Take your position as for the Polka. _1st bar._--One Polka step to the left, beginning with left foot, and turning half round. _2d bar._--Slide your right foot to right; bring left foot up close behind it, as in the fifth position; make a _glissade_ with your right foot, ending with your left in front. _3d bar._--Spring on your right foot, raising your left in front. Fall on your left foot, passing it behind your right foot. _Glissade_ right with right foot, ending with left in front. _4th bar._--Again spring on right foot, raising left in front. Fall on left foot, passing it behind right. _Glissade_ to right with your right foot; end with same foot in front. Then repeat from beginning during the next four bars, but the second time be careful to end with the left foot in front. During the last two bars you turn round, but do not move forward. The step for the lady is the same, with the order of the feet, as usual, reversed; except, however, in the last two bars of this figure, which both begin with the same foot. The Gorlitza, like the preceding dance, is divided into parts. The first part occupies eight bars of the music; the second, sixteen bars. The step for the second part is as follows: _1st four bars._--Commence with Polka Mazourka, step, with left foot to the left, and turn half round. Then do the step of the Cellarius to the right, beginning with the right foot. Fall on left foot, keeping it behind right foot; _glissade_ with right foot, and end with same in front. _2nd four bars._--Polka Mazourka with right foot to the right, and turn half round. Cellarius step with left foot to the left. Fall on right foot, keeping it behind; _glissade_ with left foot, bringing it behind. Repeat from beginning, which completes the sixteen bars of second half of the figure. Lady does the same steps with order of feet reversed. THE NEW VALSE. This graceful variation of the valse movement has not long been introduced, and is not yet so universally popular as it promises to become. It is more elegant than the _Valse a Deux Temps_, and more spirited than the Cellarius. The _tempo_ is slower than that of the ordinary valse. The step is extremely simple. Gentleman takes his partner as for the _Valse a Deux Temps_. Fall on the left foot, and make two glissades with the right (1st bar). Repeat, reversing order of feet (2d bar). Lady begins with her right foot as usual. The step is the same throughout. _Figure en tournant._ The peculiarity of this Valse lies in its accent, which cannot properly be explained in words, but must be seen to be understood. We recommend our readers to lose no time in acquiring a correct knowledge of the New Valse. It is unquestionably the most easy and most graceful dance which has appeared of late years, and we are told on first-rate authority that it is destined to a long career of triumphs. POP GOES THE WEASEL. Performed the same as the Country Dance, the ladies and gentlemen being placed opposite each other. First couple down the outside, back--down the centre, back--swing three hands once and a half round with second lady (first couple raise their hands) second lady passes under them to place--first couple swing three hands with second gentleman (first couple raise their hands), second gentleman passes under to place. MERRIE ENGLAND. Four lines of sixes--three ladies and three gentlemen; the ladies on the right of the gentlemen; three sets of four, hands across and back again, balancing to partners, and turn to places. Right and left and back again; ladies chain and back again; all advance and retire, advance a second time, and the leading couples pass through to face the third line; than begin again until first couple arrive at the bottom of the dance. POLKA COUNTRY DANCE. Dancers form two lines--ladies on the right, gentlemen on the left. Top lady and second gentleman set a Polka step, and cross into each other's places; second lady and top gentleman repeat same to places. The two couples polka down the middle and back again. Same repeated till bottom couple are at top, and so on at pleasure. THE TRIUMPH. This good old-fashioned country dance is at once graceful and attractive. The dancers stand in two rows--ladies on one side, gentlemen on the other. First lady and gentleman dance down the middle and up again; then the lady passes down the dance with the next gentleman followed by her partner. The two gentlemen lead the lady up between them, each taking her up by one hand, and holding their other hands above her head; pousette all round, and repeat the figure till all the ladies have been taken in triumph through the dance. HIGHLAND REEL. This, more or less, is the general reel of the English, Irish and Scots; except that the latter adopt the Highland step, which cannot be taught on paper. The dancers in parties of three or four--a lady, or two ladies back to back, between two gentlemen in line to form one reel--chassée and form the figure eight, the gentlemen changing places at each turn of the figure eight, and dance to partners; and continue the figure according to the time of the music. ARKANSAS TRAVELLER. Balance first six, chassée half round--balance again, chassée round to place--first four cross hands half round, swing partners--cross hands round to place, first couple swing quite round--down the centre, back and cast off--right and left. PORTLAND FANCY FIGURE, "TEMPEST." Join hands and swing eight--head couple (gentleman and opposite lady) down the middle, and foot couple up the outside, back to places--head couple down the outside, and the foot couple up the middle, back to places--ladies chain at the head, and right and left at the foot--right and left at head, and ladies chain at foot--all forward and back, forward and cross by opposite couples and face the next four. CAMPTOWN HORNPIPE. First couple down the outside, back--down the centre (swing at the foot half round), up the centre (lady on the gentleman's side) and cast off--ladies chain--first couple balance and swing to place. JORDAN AM A HARD ROAD. _Six couples in a set._ First couple balance, cross over and down the outside--balance at the foot, cross over up the outside, down the centre, back and cast off--right and left. SOLDIER'S JOY. _Form as for a Spanish Dance._ All forward and back, swing the opposite--all balance to partners, and turn--ladies chain--forward and back, forward again and pass to next couple. LONDON POLKA QUADRILLE. FIRST FIGURE--(4 strains).--Forward four, change hands, return to places, polka waltz figure once round--balance and turn partners half round with right hand, ditto to places with left hand, promenade forward, turn without quitting hands, promenade to places, sides the same. SECOND FIGURE--(3 strains).--The first couple waltz back to couple on their right, ending with the hands across--cross hands half round with the right hand, ditto, back with left hand, first couple waltz to their places; half promenade with opposite couple, waltz back to places, next couple, &c. THIRD FIGURE--(2 strains).--First couple lead or waltz up to opposite couple, turn the opposite couple half round with the right hand, turn back with the left hand, first couple waltz to their places; next couple, &c. FOURTH FIGURE--(3 strains).--The first couple forward in waltz position, changing the lady from the right to the left hand four times; four take hands round, pass the ladies from the left to the right hand four times, reforming the round after each pass; first couple waltz back to their places; next couple, &c. FIFTH FIGURE--(4 strains).--The grand round; all balance en carre; the first lady cross over, followed by her partner, the gentleman dances back to his place, followed by the lady. N. B.--The arms placed akimbo after the round. First couple waltz once round, others the same, &c. SIXTH FIGURE--(3 strains).--The first couple waltz back to the couple on their right, ending with the hands across; cross hands half round with the right hand, ditto, back with the left hand, first couple waltz to their places; half promenade with opposite couple, waltz back to places; next couple, &c. FLOWER GIRL'S DANCE. _Form as for the Spanish Dance._ All chassée to the right; half balance; chassée back, swing four half round; swing four half round and back; half promenade, half right and left; forward and back all, forward and pass to next couple. CIRCASSIAN CIRCLE. _Form as for the Spanish Dance._ All balance, swing four hands; ladies chain; balance and turn partners; right and left; all forward and back, forward again and pass to next couple. TEMPEST. _Form in two lines of six or eight couples on a side._ First two couples down the centre (one couple from each line) four abreast, couples part at the foot and up abreast and each turn around opposite the next couple that was below them on starting; four on each side right and left; ladies chain with the same couple; balance, four hands round (on each side), same four down the centre, &c. RUSTIC REEL. _Each gentleman has two partners; form as for the Spanish Dance._ Each gentleman chassée with right hand lady, opposite and back; chassée out with the left hand lady opposite and back; all forward and back, pass through to the next couples. DEVIL'S DREAM. _Form in Sets of Six Couples._ First couple down the outside (foot couple up the centre same time) back first couple down the centre back and cast off (foot couple up the outside and back at the same time); ladies chain first four; right and left. FRENCH TERMS USED IN DANCING. Throughout this work we have endeavored to avoid as much as possible the use of French words, and to give our directions in the plain mother tongue. Nevertheless, there must always be certain technical terms, such as _chassez croisez, glissade_, &c., &c., for which it would be difficult to find good English equivalents. We therefore subjoin a Glossary of all such words and expressions as have long since been universally accepted as the accredited phraseology of the Ball-room. _A vos places_, back to your own places. _A la fin_, at the end. _A droite_, to the right. _A gauche_, to the left. _Balancez_, set to your partners. _Balancez aux coins_, set to the corners. _Balancez quatre en ligne_, four dancers set in a line, joining hands, as in La Poule. _Balancez en moulinet_, gentlemen and their partners give each other right hands across, and balancez in the form of a cross. _Balancez et tour des mains_, all set to partners, and turn to places. (See _Tour des mains_.) _Ballotez_, do the same step four times without changing your place. _Chaine Anglaise_, opposite couples right and left. _Chaine des dames_, ladies' chain. _Chains Anglaise double_, double right and left. _Chaine des dames double_, all the ladies perform the ladies' chain at the same time. _Chassez croisez_, do the _chassé_ step from left to right, or right to left, the lady passing before the gentleman in the opposite direction, that is, moving right if he moves left, and vice versa. _Chassez croisez et déchassez_, change places with partners, ladies passing in front, first to the right, then to the left, back to places. It may be either à _quatre_--four couples--or _les huit_--eight couples. _Chassez à droite--à gauche_, move to the right--to the left. _Le cavalier seul_, gentleman advances alone. _Les cavaliers seuls deux fois_, gentlemen advance and retire twice without their partners. _Changes vos dames_, change partners. _Contre partie pour les autres_, the other dancers do the same figure. _Demi promenade_, half promenade. _Demi chaine Anglaise_, half right and left. _Demi moulinet_, ladies all advance to centre, right hands across, and back to places. _Demi tour à quatre_, four hands half round. _Dos-à-dos,_ lady and opposite gentleman advance, pass round each other back to back, and return to places. _Les dames en moulinet_, ladies give right hands across to each other, half round, and back again with left hands. _Les dames donnent la main droite--gauche--à leurs cavaliers_, ladies give the right--left--hands to partners. _En avant deux et en arrière_, first lady and vis-à-vis gentleman advance and retire. To secure brevity, en avant is always understood to imply _en arrière_ when the latter is not expressed. _En avant deux fois_, advance and retire twice. _En avant quatre_, first couple and their _vis-à-vis_ advance and retire. _En avant trois_, three advance and retire, as in La Pastorale. _Figurez devant_, dance before. _Figurez à droitee--à gauche_, dance to the right--to the left. _La grande tour de rond_, all join hands and dance completely round the figure in a circle back to places. _Le grand rond_, all join hands, and advance and retreat twice, as in La Finale. _Le grand quatre_, all eight couples form into squares. _La grande chaine_, all the couples move quite round the figure, giving alternately the right and left hand to each in succession, beginning with the right, until all have regained their places, as in last figure of the Lancers. _La grande promenade_, all eight (or more) couples promenade all round the figure back to places. _La main_, the hand. _La mere pour les cavaliers_, gentlemen do the same. _Le moulinet_, hands across. The figure will explain whether it is the gentlemen, or the ladies, or both, who are to perform it. _Pas de Allemande_, the gentleman turns his partner under each arm in succession. _Pas de Basque_, a kind of sliding step forward, performed with both feet alternately in quick succession. Used in the Redowa and other dances. Comes from the South of France. _Glissade_, a sliding step. _Le Tiroir_, first couple cross with hands joined to opposite couple's place, opposite couple crossing separately outside them; then cross back to places, same figure reversed. _Tour des mains_, give both hands to partner, and turn her round without quitting your places. _Tour sur place_, the same. _Tournez vos dames_, the same. _Tour aux coins_, turn at the corners, as in the Caledonians, each gentleman turning the lady who stands neatest his left hand, and immediately returning to his own place. _Traversez_, cross over to opposite place. _Retraversez_, cross back again. _Traversez deux, en donnant la main droite_, lady and _vis-à-vis_ gentleman cross, giving right hand, as in La Poule. _Vis-à-vis_, opposite. _Figure en tournant_, circular figure. Indispensable to the Success of the Public Speaker and Debater. Elocution Made Easy. This is a book that cannot be too highly recommended to those who are ambitious to appear in public, whether in the Legislature, Church, Town Meeting, Lecture Room, Lodge, or Social and Festive Occasions. It is just the book needed by the young beginner, being a reliable guide to guard him from errors and false habits, and point out the best and proper methods to attain a good delivery, with ease, elegance, and fluency of speech. Among the matters treated of are the following; How to acquire the Orotund. The Guttural and Aspirate Qualities. Management of the Mouth and Nose. Practicing the Voice, Loudness, Diet. Management of the Breath. Parsing, Pitch. Time or Movement. Articulation. Stammering and Stuttering. Pronunciation, the Aspirate. Letter R, Accent, Emphasis. Tone, Blank Verse. Rhymed Verse. Dramatic Reading. Action. Facial Expression. Silent Practice. Recitation, Imitation. All that is necessary for teaching any one to become a proficient orator is plainly and clearly expressed. PRICE--20 CENTS. "_MANNERS MAKE THE MAN._" BASHFULNESS CURED. EASE AND ELEGANCE OF MANNER QUICKLY GAINED. A book thousands of our young men will welcome with joy. It tells them just what they want to know. That diffidence--that peace-destroying want of confidence--that so annoys them, can now be removed. This work will enable them to appear with advantage to the fair sex at all times and under all circumstances. It tells how to overcome natural diffidence. It tells how to cure bashfulness in all its forms, whether caused by lack of education, ignorance of the ways of society, ill dress, or ill health. It tells how to acquire elegance and fluency of expression; Ease and polish of manner; A graceful, pleasing, and dignified bearing; A handsome and well-developed chest; A deep, rich voice; It tells how to dress cheaply and elegantly. How to be attractive by attention to personal habits. How to please greatly, by delicate flattery of eye and manner. How to easily train, brighten, and sharpen the intellect. How to be well informed and well cultivated. How to be popular with the ladies. Also, to the debilitated it tells what to use to become strong and vigorous. PRICE, ONLY 20 CENTS. Sent to any address on receipt of price. GRAMMAR MADE EASY. A VERY INTERESTING BOOK On a Proverbially Dry and Uninteresting Subject. The author has, with a tact and skill which shows him to be a thorough master of the subject, stripped the language of all unnecessary verbiage and gone right to the point, and used such matter only that is absolutely needed. It is, in fact, the golden grains of Grammar, sifted from the useless mess of chaff that it is usually invested with. The book is especially adapted for those who have arrived to years of understanding but who have never had the opportunity of acquiring grammatical knowledge, and also for those who have, in early years, had some knowledge of it, but who have neglected or forgotten to practice it. By a perusal of this small manual, a person gets, with small effort, that which takes with the ordinary Grammars now in use, months of dry, tedious drudgery to get anything like a fair knowledge of the English language. It is a complete Manual of Instruction for Correct Speaking, Writing, and Spelling, for Adults. PRICE 20 CENTS. HOW TO BE AN ORATOR. At no period of our country's history was public speaking more in demand than at the present time. The speaker everywhere is welcomed, and his calling honored. A man, however extensive his knowledge, or brilliant his attainments, if he has not the power of communicating them in public, is doomed to mediocrity, and ofttimes obscurity, whilst a man with moderate attainments, who has cultivated the art of public speaking, will always be a man of influence, and looked upon as an authority on any point at issue. New questions are arising every day, relating to Politics, Social and Sanitary matters and morals, which, unless their true meaning and importance are placed before the people, will cause much trouble in the future, and even threaten the safety of our republican institutions. The Book gives complete directions for composing a speech, illustrated by the various kinds of oratory. It should be in the hands of every person who is desirous of becoming proficient in the supremely useful and noble art of oratory. CONTENTS. Importance of the Orator--Power of the Orator--Various Kinds of Oratory--Prepared Speech--Constructing a Speech--Short Speeches--Command of Language--Reading and Thinking--Style--Hasty Composition--Forming a Style--Copiousness and Preciseness--Diction and Specific Terms--Variety of Language--Too Great Care About Words--Epithets--Precision--Synonyms --Perspicuity--Long and Short Sentences--Tropes and Figures--Metaphor --Simile, etc., etc. The instruction given will enable any one to appear with dignity and distinction before any audience. PRICE 15 CENTS. LETTER WRITING MADE EASY, AND Composition Simplified. To those whose correspondence is limited, or to those who experience the least embarrassment in writing a letter, this book will be welcomed with joy. It gives just the information needed. It is not a mere collection of letters or examples, but it enters at once into the wants and difficulties of the writer, and tells him how to write a letter "out of his own head," and not to copy an imperfect example, which, however pretty and ornamental as a piece of composition, can never convey his own wants appropriately and effectively. CORRESPONDENCE OF EVERY KIND. BUSINESS, FRIENDSHIP, LOVE, COURTSHIP, and MARRIAGE. Correspondence on these subjects is explained in such a manner that no one need be at a loss to write on either topic with ease and elegance. Much New and Useful Information is Given REGARDING Spelling, Punctuation, Grammar, and Writing for the Press. Its suggestions are invaluable to every one who uses or expects to use the pen. Price, 20 Cents. Sent to any address on receipt of price. The Book of Knowledge and Sure Guide to Rapid Wealth. Fortunes are made every day by the manufacturing and selling of some of the articles here given. Directions are given for making all kinds of Cosmetics, Lotions, Ointments, Patent Medicines, Soaps, Cements, etc. The secrets used by Metal workers, how to make Gold, Silver and the various precious stones, with many practical directions for working and using the commoner metals. The secrete of the Liquor trade are fully detailed, and the choicest receipts sad formulas are given for the making of different kinds of liquors, including the new method of making Cider without Apples, all without the use of poisons or poisonous drugs. It is arranged and divided into departments for the use of Liquor Dealers, The Household, Druggists, Confectioners, Manufacturers, Hunters & Trappers, Farmers, Perfumers, Medical Men, Artists. No one, whatever be his position in life, can fail to find something in this book that will repay a hundredfold its price. Many of the receipts have been advertised and sold for sums ranging from 25 cents to ten dollars. We send the whole book, postage free, for 25 cents. Singing Made Easy. This book shows how any one with an ordinary voice can, by proper management, as here indicated, become proficient in singing. It explains the pure Italian method of producing and cultivating the voice, the management of the breath and voice organs, the beet way of improving the ear, how to sing a ballad, with much other valuable information equally useful to Professional Singers and Amateurs. Price 20 cents. RIDDLES, CONUNDRUMS AND PUZZLES. The choicest, newest and best collection of Riddles, Conundrums, Charades, Enigmas, Anagrams, Rebusses, Transpositions, Puzzles, Problems, Paradoxes and other entertaining matter, ever published. Here is Fun for the Mirthful, Food for the Curious, and Matter for the Thoughtful. Price 20 cents. THE AMATEUR PAINTER. A MANUAL OF INSTRUCTION IN THE ARTS OF PAINTING, VARNISHING, AND GILDING. With plain Rules for the practice of every department of Home and Sign Painting. Colors, and how to Mix Them--Compound Colors--Oils--Varnishes--Polishes --Gilding Materials--Miscellaneous Materials--Grinding and Washing Colors--Cleanliness in Working--Practice of Painting--Practice of Varnishing and Polishing--Practice of Gilding--Instructions of Sign Writing--Harmony of Colors--Birds-Eye Maple in Distemper--Satin Wood --Mahogany in Distemper--Mahogany in Oil--Rose Wood. This book is thorough in detail in every branch of Painting. By its aid every man can become his own Painter, in whatever kind of work he desires to undertake. =Price 25 Cents.= THE AMATEUR PRINTER. A work that should be in the hands of every one who desires to know anything about the art of Printing. It gives full instructions in all matters relating to the Setting of Type, enabling any one to become a proficient Printer. Fully Illustrated. =Price 25 Cents.= THE ART OF VENTRILOQUISM. Containing simple and full directions by which any one can acquire this amazing art. With numerous examples for practice. Also, instructions for making the =Magic Whistle=, for imitating birds, animals, and peculiar sounds of various kinds. Any boy who wishes to obtain an art by which he can develop a wonderful amount of astonishment, mystery and fun, should learn Ventriloquism, as he easily can, by following the simple secrets given in this book. The Magic Whistle is the same as is widely advertised and sold for Twenty-five Cents, while we will mail the book and method of making the Magic Whistle for only =15 Cents=. NAPOLEON'S ORACULUM AND COMPLETE BOOK OF FATE. This is the celebrated Oracle of Human Destiny consulted by Napoleon the First previous to any of his undertakings, and by which he was so successful in war, business and love. It is the only authentic and complete copy extant, being translated into English from a German translation of an ancient Egyptian manuscript, found in 1801, by M. Sonnini, in one of the royal tombs near Mount Lybicus, in Upper Egypt. A curious work. Mailed for =15 Cts.= THE COMPLETE Fortune-Teller and Dream Book. This book contains a Complete Dictionary of dreams alphabetically arranged, with a clear interpretation of each dream, and the Lucky Numbers that belong to it. It includes Palmistry, or Telling Fortunes by the Lines of the Hand; Fortune-Telling by the grounds in a Tea or Coffee Cup; How to Read your Future Life by the White of an Egg; tells How to Know who your Future Husband will be, and how Soon You will be Married; Fortune-Telling by Cards; Hymen's Lottery; Good and Bad Omens. Mailed for =15 Cents=. HOW TO TALK AND DEBATE. A really valuable book, and one that every man and woman, boy and girl, should possess. Mailed for =15 Cents=. A SURE GUIDE TO AUTHORSHIP! KEY TO COMPOSITION; OR, HOW TO WRITE A BOOK. As the title indicates, this book is A COMPLETE GUIDE TO AUTHORSHIP, AND PRACTICAL INSTRUCTOR IN ALL KINDS OF LITERARY LABOR. Books heretofore published on these matters have taken it for granted that the learner has had some knowledge of the essentials of composition, and have given advice and instructions suitable only to those of some experience in Literary Composition. Other works have entirely neglected to give any Information Relating to Publishing, Proof-Reading, and other important matters relating to the getting up of books and placing them before the public. This book has carefully avoided these errors. It presumes, at the commencement, that the literary aspirant is totally ignorant of the construction of a composition, and commences at the first rudiments of the art, taking the learner from the construction of the most simple sentences gradually, but surely, to The Most Elaborate Composition, suitable for the highest kind of literary effort. The information given regarding Publishing, and the COUNSELS TO YOUNG AUTHORS, is valuable, and has never been given to the public before. As an Aid and Instructor to those who desire to follow literary pursuits permanently for profit, or to those who write for recreation and pleasure, the book is indispensable. PRICE 30 CENTS. THE LOVERS' LIBRARY. Come, thou lover, on whose eyes Dreams of absent beauty rise, In my little page thou'lt find Balmy medicine for the mind. A new series of books, devoted entirely to the simplifying and making clear the ways and intricacies of the hymenial path, for the instruction and comfort of those who have been the victims of Cupid's heartless wiles and cruel attacks. No. 1. LOVE-MAKING SECRETS; or, THE ART OF BEING POPULAR WITH THE LADIES. A book that will gladden the hearts of thousands of both sexes. It will cause more hearts and hands to be united in wedlock than any other human instrumentality can do. No maiden's heart can be so obdurate or perverse an to resist the attentions bestowed upon it, if performed in the manner here indicated. Full end practical directions are given to woo and win the most beautiful, the most reserved, the most romantic, the most sentimental, the most religions, the most bashful, the most poetic, the most perverse, the most educated, the most refined girl that ever had two eyes to bewilder and confuse an unfortunate man. It also tells The way to court an Actress, Old Maid, Heiress, and a Widow. When Men and Women are adapted for Marriage. How to choose a Wife. How to live happy, and enjoy unceasing bliss in the nuptial state. It also gives Important Counsels to a Newly-Married Pair. Price, 20 Cents. Sent, post paid, to any address on receipt of price. "Dancing Made Easy." BALL-ROOM DANCING WITHOUT A MASTER, AND Complete Guide to the Ball-Room. A book giving a simple description of the dances in popular use, free from the usual technicalities, has been long desired. To meet this want the publishers have engaged a celebrated professor and teacher of Dancing to write a book that shall supply this deficiency. In this the professor has been eminently successful. We may confidently assert that any one can, by the aid of this book, become proficient in the art of Ball-Room Dancing. The different dances are illustrated by diagrams and figures, making every step and variation quite clear and simple. CONTENTS. How to Organize a Ball. Ball-Room Toilet for Ladies and Gentlemen. Etiquette of the Ball-Room. Quadrilles. Cheat Figure. Jig Figure. Basket Figure. Double Quadrille. Polka. Schottische. Redowa. Polka Mazurka. Spanish Waltz. Valse a Deux Temps. Galop. Mazourka Valse. Waltz Cotillion. Lancers. Tempete. Caledonians. Couple Dances. New Valse Cotillion. Virginia Reel. The Varsoviana. The Gorlitza. The New Valse. Pop Goes the Weasel. And many other popular dances. Beautifully illustrated, and well printed. Price 25 cents. Sent to any address on receipt of price. Hand-Book of Business, AND Complete Guide to all Kinds and Forms of Commercial and Mercantile Transactions, including a Dictionary of all the Terms and Technicalities used in Commerce and Business Houses. There are also added many new and valuable methods of finding the cost of merchandise, and getting the correct solution of many matters constantly occurring in trade. Correct legal forms are given of Bills, Deeds, Notes, Drafts, Cheques, Agreements, Receipts, Contracts, and other instruments of writing constantly necessary to every one, no matter in what calling he follows. Not only does it tell how to do Business, but it is a complete Book of Legal Knowledge. Its use will save many a dollar in lawyers' fees, and save much uncertainty and embarrassment to all who have occasion to give or receive any article of writing. What the book tells: It tells How to do Business--How to Conduct Mercantile Transactions by Sea or Land, at Home or in Foreign Countries--How to Keep a Bank Account--How to Make out Notes of all Kinds--How to Write an Agreement--How to Draw up Articles of Copartnership--How to Write a Bond--How to find out Profit and Loss on Goods--How to Make Out a Deed--How to Mark Goods (Private)--How to Write a Contract for Building--How to Write a Lease for Lands or Goods--How to Make Reports for all Kinds of Associations' Concerns and Business. The book is indispensable to everybody, including-- Agents, Clerks, Lawyers, Peddlers, Book-Keepers, Assessors, Farmers, Merchants, Magistrates, Mechanics, Storekeepers, Brokers, Justices of the Peace, Laborers, Etc., etc. All will find matter especially suited and needed by them. To the young man desirous of bettering his condition in life or engaging in merchandise, this book is worth its weight in gold. It is just what he needs. Its instructions will enable him to become proficient in the language of mercantile men, and also render him thoroughly competent to perform any duties that may devolve upon him in the Banking House, the Store, or the Office. PRICE 25 CENTS HOW TO SPEAK AND WRITE WITH ELEGANCE AND EASE. A valuable little Manual for the use of Readers, Writers, and Talkers. It shows the most prevalent errors that the inexperienced fall into. The examples are made extremely plain and clear. In every case the correct forms are given. It should be the companion of every person, young or old, who desires to Speak, Write, or Read with Precision and Correctness. PRICE 15 CENTS. HOW TO PRONOUNCE DIFFICULT WORDS. There are few persons who have not, at times, been in doubt respecting the true pronunciation of a word they desired to use. Even those who have had the advantages of a liberal education are frequently confused and confounded by uncertainty of the correct sounding of words they need to express their views. This uncertainty can now be avoided. By the aid of this book the hardest words or most difficult terms in the English language can be pronounced with absolute ease and accuracy. It contains also much useful information relating to the choice of words, and gives rules for pronouncing French, Italian, German, Russian, Danish, Norwegian, and other foreign words that are constantly occurring in the current literature of the day. PRICE 15 CENTS. SLANG AND VULGAR PHRASES AND FORMS. A COLLECTION OF Objectional Words, Inaccurate Terms, Barbarisms, Colloquisms, Quaint Expressions, Cant Phrases, Provincialisms, Perversions and Misapplication of Terms, As used in the various States of the Union. As a Dictionary of local peculiarities and State idiosyncrasies it is a curiosity, and deserves a place in every library. The whole collection is arranged, explained and corrected. PRICE 15 CENTS. The Best Work on Beauty and Development ever Published. THE BOOK OF BEAUTY, VIGOR AND ELEGANCE, WITH THE Science and Art of Dressing with Taste. Personal beauty always has and always will exert a powerful influence upon the destinies of the world. Every individual is affected more or less by its power. It is a duty incumbent upon all to improve their appearance, and become as good looking as possible. To those who know the importance of appeasing to the best advantage, whether in person or dress, this book particularly commends itself. And if Nature has been sparing in bestowing beauty and attractions, its suggestions will enable them to overcome these defects, and in nearly all cases to become, if not absolutely fascinating, to become beautiful, elegant and graceful, and to be admired and sought after by the opposite sex. To those to whom Nature has been more liberal, attention to the suggestions laid down here will so enhance their charms as to make them dangerously fascinating and surpassingly beautiful. This Book enables The Homely to become Handsome, The Weak and Puny to become Strong and Vigorous, The Rude and Clumsy to become Elegant, The Uncultivated to become Refined, The Old to become Young, The Thin and Lean to become Fat and Plump, The Corpulent and Fat to become Lean. Among the matters thoroughly discussed are: How to be Beautiful.--How to Improve the Complexion.--How to Fascinate.--How to make the Skin White and Soft.--How to Remove Freckles.--How to make Cosmetics.--How to acquire Bodily Symmetry.--How to make the Eyes Beautiful.--How to cause the Eye-Lashes and Brows to grow long.--How to prevent the Hair from falling off.--How to prevent Grey Hair.--How to cause the Hair to grow.--How to promote the growth of the Beard.--How to Cure Baldness.--How to remove superfluous Hair.--How to restore Grey Hair to its natural color.--How to preserve the Teeth.--How to have sound, white Teeth.--How to cure the Toothache.--How to stop Decay of Teeth.--How to remove Tartar from the Teeth.--How to have White Hands.--How to have Plump Arms.--How to remove Warts and Corns.--How to have Beautiful Nails.--How to care for the Feet.--How to Strengthen the Body.--How to develop the Muscles.--How to Invigorate the System.--How to increase the Memory.--How to prolong Life.--How to cure Nervous Ailments.--How to prevent Sickness.--How to strengthen the Vital Forces.--How to produce Physical Vigor.--How to acquire Plumpness.--How to make all kinds of Toilet Articles.--How to attain Perfect Health.--How to Dress with taste.--How to acquire an elegant and graceful carriage.--How to arrange the Dress.--How to harmonize colors. This Book is an essential companion for every man or woman, young and old, throughout the world. Were its instructions heeded, ugliness, uncouthness and sickness would be banished. _Illustrated by Anatomical Engravings._--=Price 25 Cents.= ==> Sent by Mail to any address, on receipt of Price. THE FORTUNE TELLER AND DREAM BOOK; OR, The Future Unfolded. CONTAINING PLAIN, CORRECT AND CERTAIN RULES FOR FORETELLING WHAT IS GOING TO HAPPEN. BY THE CELEBRATED GABRIEL, The Astrologer of the 19th Century. A Complete Oracle of Destiny. In this Book you have all that was ever made known by the ancient Egyptians, Assyrians, Persians, Greeks, Chinese and Hindoos relating to the occult sciences. Much has been procured from overlooked sources, and transcribed from the original hieroglyphics. The substance, also, of all that has been brought to light by the researches and investigations of modern Astrologers and Professors is here laid before the reader in a plain and intelligible manner. This Book contains: The celebrated Grecian Oracle of Destiny.--The renowned Egyptian Fortune Telling Tablets.--The Great Hindoo Trial of Destiny.--Palmistry, the art of telling fortunes by the lines on the hand.--Fifty-two Grecian observations on moles.--How to make the Dumb Cake.--The birth of children, and fore-telling other events by the moon's age and the days of the week.--To know if your love of a person will be mutual.--Charms, Spells and Incantations.--To procure Dreams, Tokens, and other insights into futurity.--Fast of St. Agnes.--The Nine Keys.--Magic Rose.--Cupid's Nosegay.--The Ring and the Olive Branch.--Love's Cordial.--The Witches Chain.--Love Letters.--Strange Bed.--To see a future husband.--To know what fortune your future husband will have.--The Lovers' Chaim.--Hymenial Charm.--For a girl to ascertain if she will soon marry.--Physiognomy; the art of discovering a person's disposition by their features.--How to tell a person's character by means of Cabalistic calculations.--Fortune-telling by means of a tea or coffee cup.--How to read your fortune by the white of an egg.--To choose a husband by the hair.--Lucky days.--Fortune telling by dice.--Fortune telling by cards.--Dreams and their interpretation.--A complete dictionary of dreams. This Book will acquaint you truthfully about What your portion in life will be. What you will be successful in. What you are adapted for. What your absent wife is doing. What your absent husband is occupied with. What your future partner will be. What your destiny is. Whether your intended is true to you. Whether you will be childless. Whether you will die an old maid. Whether you will have money left you. Whether your marriage will be happy. Whether you will be successful in your love affairs. Whether you will be a widow. Whether you will get a divorce. Whether you will be disappointed in money matters. The book is, in fact, a perfect Oracle of Fate, and may be consulted with certainty upon all matters that relate to your present or future prospects. Price 20 Cents. ==>Sent by Mail to any address, on receipt of Price. CHEAPEST AND BEST IN THE WORLD. THE N. Y. HOME MAGNET _Is a Beautifully Illustrated, Large, 32 Column Paper_, Published regularly every month, at the low rate of FIFTY CENTS A YEAR. The price is the only "cheap" thing about it. Handsomely illustrated. It is first class in every way, shape and manner. =BOYS= will read it, for it has the best Hunting, Indian and Sea Stories; tells how to make traps, toys, bows and arrows, etc., etc. =GIRLS= will like to have it, for it is brimful of superior Tales of the Affections and of Home Life; with any quantity of articles on Love-making, Household Management, Fashions, the Toilet Mysteries, Preserving, Cutting Dresses, Working Crochet, Lace, Braid, etc., etc. =MEN= will like it for its vast amount of valuable information on every subject that can improve the mind, the morals and the habits. Giving all new phases of thought, all new inventions, and particularly those by which money can be easily made. =LADIES= will like THE MAGNET, for in its columns will be found everything detailed that can go to embellish Home, and render it more attractive; teachings in every kind of culinary economy, and modes of making a little money go a good way in household management. =EVERYBODY= will like THE MAGNET, for in its columns will be found something to suit every taste, whether grave or gay; whether in search of amusement, instruction or profit, you will become for its perusal wiser, better and richer. Nothing is too light and amusing, nothing too grave, learned or useful to find a fit place in THE MAGNET's varied pages. These are a few of the subjects that will be found in every number of THE MAGNET: Tales and Romances. Lively Editorials. Pleasant Pastimes. Household Hints. Portfolio of Information. Maids, Wives and Widows. Young Folks' Department. Our Knowledge Box. Health Hints. Answers to Correspondents. Ways that are Dark. Humorous Department. Poetry. Facts and Figures. Conjuring. And hundreds of other useful and profitable employments will be written upon and explained by experts, so that the reader can both inform his mind, and make money by what he learns from THE MAGNET. TAKE SPECIAL NOTICE, that THE HOME MAGNET will plainly show How any one can make a _Real Working Clock_ at a cost of fifty cents. How to Construct and Operate an _Electric Telegraph_, transmitting and receiving messages. How to make a _Microscope_ that will immensely magnify, at a cost of five cents. How to Build and Set to Work a real _Steam Engine_. How to Make the Apparatus for Photography, and how to take Pictures of every style easily, successfully and profitably. How to Construct and Operate a _Galvanic Battery_, and apply it so as to practically plate any articles with Copper, Silver or Gold; and to take beautiful _facsimiles_ of medals and coins; as well as explain how to deposit metals upon leaves, insects, etc. How to Make and Work a Lathe. With the art of _Wood Turning_ fully illustrated. The art of _Glass Blowing_, instructing any one to make a thousand and one novel and interesting subjects from a piece of glass. _Bear in mind_, that these processes, which we engage to teach in THE MAGNET, are plain, practical things, so that the learner can turn his knowledge to use, and make money by the exercise of the arts that he acquires. 50 CENTS A YEAR. Remember that this is all you have to pay to get this Paper for a Whole Year. Many and many an article will appear in THE MAGNET that may put thousands of dollars in your pockets; for it will be full of new, valuable receipts and suggestions. =Do not Forget.=--Every subscriber gets a Valuable Premium. One can be selected from a _List of Twelve_, comprising beautiful Chromos, Good Books and Useful Novelties. No delay in filling orders. Send stamp for our Agents' Terms, List of Premiums and Specimen Copy of THE HOME MAGNET. Remember, that we give more actual value to our subscribers than any other paper has ever offered. DO NOT FAIL to send FIFTY CENTS and get the most Lively, Spirited and Unique Paper ever issued, for a WHOLE YEAR, with a VALUABLE PREMIUM, worth much more than the price asked for the Paper alone. Address HURST & COMPANY, PUBLISHERS, _75 and 77 Nassau Street, N. Y._ NEW AND POPULAR BOOKS. TRICKS AND DIVERSIONS WITH CARDS. An entirely new work, containing all the Tricks and Deceptions with Cards ever invented, including the latest tricks of the most celebrated Conjurers, Magicians and Prestidigitators, popularly explained, simplified and adapted for Home Amusement and Social entertainments. They are so elucidated that any one with a little practice, can perform the most difficult tricks, to his own satisfaction and to the wonder and admiration of his friends. There is also a complete exposure of all the Card Tricks made use of by Professional Card Players, Blacklegs and Gamblers. It also contains the art of Fortune Telling by Cards. Illustrated by many engravings.--=_Price, 30 Cents._= THE MAGICIAN'S GUIDE; OR, CONJURING MADE EASY. A complete Manual of Instruction in the art of Magic, by a celebrated Professional. This book will be largely sought for by all who desire to become acquainted with the Mysteries of Magic, and to make their mark in social amusements or public entertainments. This book is not a compilation of disconnected experiments, but a regular systematic course of instruction, beginning at the simplest feats of Legerdemain, and, by a series of progressive lessons, takes the learner into the more complicated operations of Natural Magic, Chemistry, Galvanism, Magnetism, and Electricity. It is the only work published that really teaches the Conjuror's Art. Illustrated by numerous engravings.--=_Price, 25 Cents._= THE GREAT CHINESE WIZARD'S HAND-BOOK OF MAGIC. A book of Marvels. The Mysteries of the Black Art are now exposed. The mysteries and awe-inspiring feats and performances of the most celebrated Magicians, Enchanters and Wizards are here explained, including the operations of Conjurors of Ancient and Modern times. The most amazing and apparently most wonderful impossibilities in Natural Magic, Chemistry, Galvanism, Electricity, Cards, Jugglery, Coins, Legerdemain, White Magic, &c., are made quite clear, so that any one can perform them. It also contains the art of making Fire Works.--=_Price, 20 Cents._= RIDDLES, CONUNDRUMS AND PUZZLES. The choicest, newest and best collection of Riddles, Conundrums, Charades, Enigmas, Anagrams, Rebusses, Transpositions, Puzzles, Problems, Paradoxes, Acrostics and other entertaining matter, ever published. For Children of all Growths. Here is Fun for the Mirthful, Food for the Curious, and Matter for the Thoughtful.--=_Price, 20 Cents._= Sent to any address by mail, post paid, on receipt of price. Transcriber's Note: Several minor spelling and punctuation errors have been corrected without comment. [End of _Ball-Room Dancing Without a Master_ by Anonymous]