four go round, down outside, in the most earnest, lively, complacent fashion. If they join hands to go down the middle, and exhibit their union to all spectators, they part almost as soon as meet, and disdain not to give hands right and left to the most indifferent persons, like marriage in its daily routine. In the Swiss, the man pursues, stamping with energy, marking the time by exulting flings, or snapping of the fingers, in delighted confidence of succeeding at last; but the maiden coyly, demurely, foots it round, yet never gets out of the way, intending to be won. The German asks his madchen if she will, with him, for an hour forget the cares and common-places of life in a tumult of rapturous sympathy, and she smiles with Saxon modesty her Ja. He sustains her in his arms; the music begins. At first, in willing mazes they calmly imitate the planetary orbs, but the melodies flow quicker, their accordant hearts beat higher, and they whirl at last into giddy raptures, and dizzy evolutions, which steal from life its free — will and selfcollec-tion, till nothing is left but mere sensation. The French couple are somewhat engaged with one another, but almost equally so with the world around them. They think it well to vary existence with plenty of coquetry and display. First, the graceful reverence to one another, then to their neighbors. Exhibit your grace in the chasse,—made apparently solely for the purpose of dechasseing,—then civil intimacy between the ladies, in la chaine, then a decorous promenade of partners, then right and left with all the world, and balance, &c. The quadrille also offers opportunity for talk. Looks and sympathetic motions are not
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