To mister Isaac.
Sir,
Though dancing and musick seem to be of near an equal antiquity, and even of an equal extent, yet musick has long received an advantage, which dancing wanted. musick has employed the pens of many of the learned, both ancient and modern, and has had the benefit of an universal character, which conveyed the harmonious compositions to all lovers of the art in all nations. Dancing, on the contrary, though celebrated by ancient authors in an extraordinary manner, and with uncommon phrases11. Read, uncommon praises (misprint is mentioned in Errata), (as I shall shew in a treatise, which I shall suddenly publish on that subject) yet among the moderns, it has been wholly unknown to the learned, and destitute of all pens, in either the speculative or practice part of the art, which for want of an universal character, was confined to the immediate master and scholar, or at farthest, to a narrow traditional instruction, which none could participate of without a teacher, who had been taught by some other, either composer, or scholar of such composer. This inconvenience at length stirred up monsieur Beauchamp to begin what monsieur Feuillet accomplished in the following treatise, which though for some time enjoyed by the French nation, as a native growth, now first appears in its true and just extent in its transplantation into the English climate and language.
The service to the lovers and professors of this art, having been the chief motive of my undertaking so difficult a province, that we who enjoy the happiness of so great a master as mister Isaac, should not want the advantage of spreading that excellence in this art, which renders him so admired by all who have any taste of it; so having received such great and generous encouragement in this study from you, sir; the product of that encouragement and study does, as it were, out of a natural right and just gratitude, seek shelter under your patronage, and challenge the advantage of appearing in the world under the protection of your name, whole known judgement and mastery in this art, will secure me from the censure of malice and ignorance.
However, I shall have little to fear, if I am so happy as to merit that generous assistance, which you have been pleased to give me in the compiling of this book; an3 am apt to flatter my self, that I have done the original that justice, that the author will have no reason to complain: but whatever defects I may have been guilty of in it, I promise my self forgiveness from so much goodness and candor, as all people (with justice) allow to mister Isaac. You are so truly distinguished from most men, by a peculiar sincerity and zeal for the service of your friend, or him whom you have once thought fit to espouse, that as I have done nothing but complied with my own inclination, in offering this public acknowledgement of your favour, so I have infinite cause of being perfectly satisfied with my patron.
I know it is the custom of dedicators, to launch forth into the praises of the virtues and parts of their patrons; but I know mister Isaac too well, to think I can render my self more acceptable to him, by entertaining him with his own deserts, since they are too well known to all your acquaintance, to need a publication in this place. Not but that it would be a theme infinitely grateful to me; but I shall curb that inclination, and deny my self a pleasure that would be disgustful to you. It is enough, that by spreading the knowledge which the following book conveys, your excellence in the art, your admirable compositions will more easily, and more largely increase the number of your admirers; among which, there never will be one more truly devoted to your service, than,
Sir, your most obliged humble servant, John Weaver.
I persuade my self, that before so useful a curiosity as the following treatise, it would not be disagreeable to the reader, to give him an account of the origin and progress of the art of orchesography. Furetier, in his historical dictionary, tells us of a curious treatise of this art by one Thoinot Arbeau, printed 1588, at Langres, from whom monsieur Feuillet, in his preface, supposes this art to date its first rise and birth, though he could never procure a sight of it, as not to be found in Paris. But this very book falling into my hands, I took care to peruse it with some attention, but found it far short of that expectation, which such recommendation had raised in me: for though it might perhaps have given the hint to mister Beauchamp; yet it is nothing but an imperfect rough draught, nor if it confined to dancing, since it treats besides of beating the drum, playing on the pipe, and the like.
But notwithstanding this blind hint of Arbeau, to do justice to monsieur Beauchamp, we must attribute to him the Invention of this Art, who in all Probability, could no more see the former Book, than monsieur Feuillet. But as no art was ever invented and perfected at once; so it remained for monsieur Feuillet, to raise the complete and finished superstructure on monsieur Beauchamp's foundation; and it must be allowed, that monsieur Feuillet has carried this art to a very great perfection, and taken a great deal of pains in the improvement of the character, and given rules so just, and a method so proper, that I cannot imagine any man can flatter himself with an ability of designing a better, or more regular manner. For this reason I chose rather to follow his method entirely, than attempt any alteration of my own, which I have done with that care and diligence, that I think I may assure the reader I have omitted nothing that he has delivered. I have also made it my business to bring the reader acquainted with the meaning of my author, as well as his words, which is a happiness every translator has not the power of arriving at, as generally either ignorant of the subject or language he translates from, or into, or both.
Another fault of our common translators I have avoided with all the industry I could: some of them pretending to meddle with books of art, and not understanding the terms of art, give us such an odd jargon, that we can never understand it without the interpretation of a master, or having recourse to the original itself. I have therefore rendered all the French terms into English, but with so much caution of doing justice to the author, and the art, that I would not defend on my own judgement, but let none pass without the approbation of the best English masters.
The perfection, which dancing is now come to in England, seems to point this time out at the fittest juncture, for the publication of a book of this nature; since we now enjoy in this nation, performers and masters of greater excellence than any other part of Europe; who show every beauty of the art in its full glory and perfection. For whoever shall consider the masterly compositions of ball-dances by mister Isaac, which are so well adapted to the manner of our school-teaching, (peculiar to England, no other nation having any such thing as public dancing-schools) whoever shall see the admirable compositions of monsieur L'Abbée in ballet, and his performance, with that of monsieur Desbargues, monsieur du Ruel, and monsieur Cherrier, can hope to see nothing in this art of greater excellence, unless any wonderful genius should arise, and advance this once celebrated art to that perfection, which drew the eyes, and employed the pens of the old Greeks and Romans; a lively description of which, the reader may see in this epigram, by an unknown hand
Mascula foemineo derivans Pectora Sexu, Atq; aptans lentum Sexum at utrumq; latus, Egressus Scenam Populum faltator adorat Solerti pendet predere verba Manu. Nam cum grata Chorus diffundit cantica dulcis Quæ resonat Cantor, motibus ipse probat. Pugnat, ludit, amat, Bacchatur, Vertitur, adstat, Illustrat verum, cuncta decore replet. Tot Linguæ, quot Membra viro, Mirabilis est Ars, Quæ facit Articulos voce silente loqui.
From this epigram, it is plain, that the ancient dancing had something more than motion, measure, and figure, and expressed the passions and actions of mankind, was a sort of silent poetry, and the painting, though without colours, so expressive, as to touch and charm every beholder.
There will be no need to enforce the use of this art, and by consequence recommend the book that teaches it, to all lovers of dancing, since it carries its own evidence with it self, and has already convinced them of its benefit and advantage; and I question not but others will find the same satisfaction from their study, which I have done, since by a close application to this character, I have made such a progress in it, as to be able to communicate all dances to the rest of the profession at any distance. I have a great deal of reason to believe, that had not I first undertaken to make monsieur Feuillet speak English, this character had yet a longer while remained a secret to this nation; those who had made their private market of it, not being willing to admit any rivals in an art, which chiefly distinguished them from others of their profession.
I must undeceive some, who may perhaps mistake the design of the following treatise, and take it for an instruction, or some improvement in the art of dancing, or method of teaching. But I must assure them, that I am not yet master of vanity enough to venture upon a task so difficult, and so invidious, since I am of opinion, that there are not better masters for instructing scholars in a genteel movement and address, than the English.
I shall not therefore detain the reader any longer in the porch, but leave him now to enter, and improve.
Ingredere ut proficias.
The explanation of the terms belonging to dancing, seem to be altogether needless, since they are so plain and intelligible of themselves: but lest the reader should put wrong constructions on those terms of art which the dancing-masters make use of, I shall give the following explanation of them.
2 Dancing is composed of positions, steps, sinkings, risings, springings, capers, fallings, slidings, turnings of the body, cadence or time, figures, &c.
Positions, are the different placings of the feet in dancing.
Steps, are the motions of the feet from one place to another.
Sinkings, are the bendings of the knees.
Risings, are when we rise from a sink, or erect our selves.
Springing, is a rising or leaping from the ground.
Capers, are when in rising or leaping from the ground, one leg beats against the other, which we call cutting.
Fallings, are when the body, being out of its proper poise, falls by its own weight.
Slidings, are when, in moving, the foot slides on the ground.
Turnings, are when the body turns either one way or the other.
Cadence or time, is a right understanding of the different measures, and observation of the most remarkable places in the tune.
Figures, are tracts made by art, on which the dancer is to move.
Before I proceed to demonstrate what I have already explained, I shall describe the room or stage, where dancing is performed; as also the different tracts or figures to be made thereon, and the posture and presence of the body, in which the performer ought to stand.
The stage or dancing-room, I shall represent by an oblong, as in the figure A B C D, of which the upper end is A B, the lower end C D; the right side B D, and the left side A C.
The posture or presence of the body, is to have respect to that part of the room, to which the face or fore-part of the body is directed, which I describe by the figure F G H I, of which F G shows the two sides of the body, H the face or fore-part, and I the back or hinder-part.
The line on which the dances are described, I call the tract.
Which tract serves for two ends, the first to direct the steps and positions, and the other to represent the figure of the dance.
All steps and positions may be described upon two lines, videlicet upon a right line, and a diametrical line; but because the tract must also be made use of for the explanation of the figure of dances, I shall add to these lines, the circular and oblique.
A right line, I call that which extends it self in length, from one end of the room to the other, as by the line marked K.
A diametrical line, is that which goes cross the room from side to side, as is shown by the line L.
5 The circular line, is that which goes round the room, as is expressed by the letter M.
The oblique line, is that which goes cross the room, from corner to corner, as may be seen by the line N.
Every one of these lines, or tracts, may jointly or separately form the figure of a dance, on which may be described the positions and steps, as in figure O. The beginning of which tract, is shown by the character representing the posture or presence of the body, which must be joined to it, to show the position of the body at the beginning of the Dance.
There are ten sorts of positions generally used in dancing, which are divided into true and false.
The true, are when the feet are placed uniform, and have the toes turned out equally.
The false, are some of them uniform, others not, and differ from the true, in that, the toes are turned inward, or one in, and the other out.
In all positions whatsoever, the form of the foot is known by these marks, videlicet That which resembles an O, represents the heel; the line joined to it, the ankle; and the extremity of that line, the point of that foot.
This figure of the foot, is but a half position, because it represents but one foot, whereas a whole position does that of two, as in the figure A B.
It is to be observed, that the letter A, in the foregoing figure, represents the left foot, and B, the right.
There are five true positions. The first is when the two feet are joined together, the heels being one against the other.
The second is when the feet are open, or separate, on a line, one distant from the other the length of the foot.
The third is when the heel of one foot is joined to the ankle of the other, which I shall hereafter term enclosed.
The fourth is when the two feet are placed one before the other, the distance of a foot in length.
The fifth is when the two feet are crossed, the heel of one directly opposite to the toe of the other.
There are also five of these. The first is when the toes are turned inwards, and touch each other, the heels being open on the line22. Read, on a line (misprint is mentioned in Errata).
The second is when the toes are turned inwards, there being the distance of a foot's length between the toes; the heels as before.
The third is when the toe of one foot is outwards, and the other inwards, the one parallel towards the other.
The fourth is when the toes are turned inwards, so that the toe of one foot points to the ankle of the other.
The fifth false position, is marked like the fifth true one, and seems to be the same position; but notwithstanding, they are very different, for whereas in the true one, the toes are turned outwards, in the false, they are turned inwards, crossing each other, so that the heel of one foot is right against the toe of the other, and is to be distinguished from the true one by a small bar between the position.
Although steps made use of in dancing, are almost innumerable, I shall nevertheless reduce them to five, which serve to express the different figures the leg makes in moving: these I shall call, a straight plain step, an open step, a circular or round step, a waving step, and a beaten step.
A straight step, is when the foot moves in a right line; which is to be made two ways, forwards, and backwards.
The open step, is when the leg opens; which is to be done three ways, one outwards, another inwards, both which make an arch or half circle, and the third sideways, which may also be called a straight step, because the motion of it is in a direct line.
The round or circular step, is when the foot, in moving, makes a circular figure; of this there is two ways, one outwards, and another inwards.
The waving step, is when the foot, in moving, turns both inwards and outwards. There are three ways of doing this, forwards, backwards, and sideways.
The beaten step, is when one leg or foot is beaten against the other. Of this there are also three ways of performing, videlicet forwards, backwards, and sideways.
A step is known by the character following, videlicet a black spot marked A, representing the position of the foot, the line drawn from that spot, marked B, showing the motion, figure, and largeness of the step, as from A to D, and lastly, by a small side stroke joined to the end of the line C, representing the foot, of which D is the heel, and E the point of the foot, or toe33. Figures on the page 10 were ommited in this transcription.
11 To a step may be added these following marks, videlicet sinking, rising, springing or bounds, capers, falling, sliding, holding the foot up, pointing the toes, placing the heel, turning a quarter turn, a half turn, a three quarter turn, and a whole turn.
The mark for a sink, is a little stroke inclining towards the little black head.
The mark for a rise from a sink, is when there is a little straight stroke upon the step.
The mark of a spring or rise from the ground, is when there are two of the aforesaid strokes, which is sometimes called a bound.
The mark for a caper, is when there are three strokes.
12 The mark for a falling step, is when at the end of the little straight stroke, another straight one is joined parallel to the step, and pointing to the mark for the foot.
The mark of a slide, is when at the end of the little stroke, a small bar is placed parallel to the step.
The mark for the foot up, is when the step is cut off.
The mark for pointing the foot, without the body's bearing upon it, is when there is a point directly at the end of that which represents the toe.
13 The mark for placing the heel, without the body's bearing upon it, is when there is a point directly behind that which represents the heel.
A quarter turn of the body, is shown by a quarter of a circle placed on the step.
A half turn, is represented by a half circle.
A three quarter turn, is shown by a three quarter circle.
A whole turn, is represented by a whole circle.
It is necessary first to know, that a step has three divisions, videlicet a beginning, middle, and end: you must also consider the foot, as well in steps as positions, has two sides, an inside and an outside. The beginning of the step, is the beginning of the line, joining the little black spot, as is shown by the letter A. The middle, is the middle of the line, as at letter B. And the end, is the extremity of the line, joining that which represents the foot, as at letter C. The outside of the foot, is between the heel and the end of the little toe, marked D E; and the inside, is that which is between the heel and end of the great toe, as is marked F G.
15 There are three ways of sinking, videlicet before the foot moves, in moving, and after it has moved.
When there is the mark of a sink at the beginning of a step, the sink must be made before the foot moves.
When the sink is marked in the middle of the step, the sink is not to be made till the foot has made half the step.
When the sink is marked at the end of the step, the sink must not be made till the step is finished.
It is the same thing in the marks of a rise.
Springings may be performed two ways, videlicet with both feet at once, or with one foot only.
The springings which are made on both feet, are marked upon the positions, as hereafter will appear; whereas the springings that are made in moving, are marked upon the steps, as has been already shown, and will again appear by the sequel.
A springing step, is performed two ways, either by springing and falling on the same foot which moves forward, which I shall, for the future, call a Bound; or springing and falling on the Foot that does not move forward, which I shall call a hop.
When there is a mark of a spring upon the step, and no mark for the holding up of the foot after it, it shows, that the spring is to be made with the foot that moves, which is called a bound.
17 But when there is a mark for a spring, and afterwards44. Read, and forwards a mark for the foot up (misprint is mentioned in Errata) a mark for the foot up, it signifies, that the spring must be made on the foot that does not move forwards, which is called a hop.
The mark for falling, has no proper place assigned it, and I shall only observe, that in rising, when it is in order to fall, it is necessary the mark for a rise, should be near the beginning of the step.
The mark for a slide, has likewise no proper place, when it is single on a step; but when it is accompanied with other marks, as sinking, rising, &c. then it must be placed last.
18 If after the mark of a slide, there be also the mark for the foot up, you must slide no farther than that mark showing the foot up.
The mark for the foot up, may be placed either in the middle, or the end; when it is in the middle, it shows, that the foot is only up, in order to be set down afterwards.
But when it is at the end, it signifies, that the foot must remain up.
To point the toe, and afterwards the heel, there must be a point on the outside of that which represents the toe, and another on the inside of that which represents the heel.
To place the heel, and afterwards point the toe, there must be a point on the outside of that which represents the heel, and another on the inside of that which represents the toe.
19 It is to be observed, that in the two foregoing examples, the point which is on the outside of that which represents either the toe or heel, is the point from whence you must always begin.
When there is a point at the end of that which represents the toe, and another behind that which shows the heel, it shows, that the foot must be set down flat.
Marks for turning, have no proper places assigned them, no more than the falling or sliding mark; but you must then observe to which side to turn, whether to the right or left.
You must observe, that the beginning of the turning mark, is to be taken from that part which is nearest to the black spot.
After having thus shown the beginning of each turning mark, you must observe exactly which way to turn, whether to the right or left, as appears by the following examples.
20 The beginning of a whole turn, or turn quite round, is more difficult to find out, because the circle, which is the mark of it, has neither beginning nor end: but it is nevertheless to be known by a point placed on the side of the step; from which point the beginning being known, you make use of the same rules as above.
When a turn is to be made but half a quarter round, it must be marked a quarter of a circle on the side of the step, without joining it to the step.
I have already shown, that all steps and half positions, which have but one point at either of their extremities, signify either the pointing of the toe, or placing the heel, without the body's bearing on it; but when there happens to be two points, it then shows, that the body must bear upon it.
Having explain'd all the before-mention'd marks, I hope it will not be thought improper to show when sinkings, risings, springings, 21 and slidings, are to be made upon the toe, heel, or flat foot, as the following examples will demonstrate.
When there is a point at the end of the sinking mark, it shows, that the toe must be bent downwards.
When there is a point behind the sinking mark, it denotes, that the heel must be bent downwards.
When there is a point at the end of the sinking mark, and another behind, it shows the sink must be with a flat foot.
When there is a point at the end of a rising mark, it shows the rise must be made on the toe.
22 When there is a point behind the rising mark, it shews, that the Rise must be made on the heel.
When there is a point at the end of a rising mark, and another behind, it shows, that the rise must be on a flat foot.
When there is a point at the end of a springing mark, it shows, that the spring, hop, or bound, must be made on the toe.
When there is a point behind the springing mark, it shows, that the spring, hop, or bound, must be made on the heel.
When there is a point at the end of the springing mark, and another behind, it signifies, that the spring, hop, or bound, must be made on a flat foot.
23 When there is a point at the end of the sliding mark, towards the mark representing the foot, it shows, that the slide must be made on the toe.
When there is a point at the other end of the sliding mark, it shows, that the slide is to be made on the heel.
And when there is a point at each end of the sliding mark, it denotes, that the slide must be made with a flat foot.
All the marks which have been hitherto demonstrated, may be placed as well upon the half positions or positions, as upon the steps, the sliding marks only excepted.
24 If there were, for example, a sinking mark upon a half position, it would show, that the knee of that leg only was to be bent; but if sinking marks should be on the whole position, then both knees are to be bent at the same time. The same is to be observed for rising, springing, &c. The marks on the positions, have no appointed place, as they have on steps, excepting points, which are to be placed in the same manner as on steps.
Positions and half positions may have several marks together, as steps have; and it must be observed of the marks for sinking, rising, springing, and capers, that the mark placed nearest to the O, is what must be first made; but when there is the mark for the foot up, that must certainly be the last performed.
25 All the marks of sinking and rising, which have been already demonstrated upon the step, have relation to the bendings and risings of both the knees: but when it shall happen, that in moving in a dance, one knee only ought to bend or rise, the following rules must be observed.
It will be necessary upon this occasion, to understand when one leg moves, what the other ought to do; to demonstrate which, I shall make use of a half position and a step, which must be tied together by a small line, of which, one end is joined to that which represents the heel of the half position, and the other to the head of the step. This union denotes, that the half position and the step, are both to act at the same time.
26 Two steps tied together at the heads, show they are both to move at once, which can only be performed by springing, which I shall hereafter call a starting step.
These kind of starting steps, may be practised two ways, videlicet with both knees stiff, or falling with the knees bent.
The first of these needs no other mark for direction, but the sliding mark; but the other must have the sliding and falling marks together.
A waving position, or half position, is when the foot waves or turns inwards or outwards, whether upon the toe, the heel, or with the foot up, which is explained by a kind of half-moon proceeding from that place which represents either the heel or toe, and which demonstrates the motion the heel or 27 toe ought to make in waving. If it be to wave upon the toe, the crescent or half-moon ought to be placed where the heel is represented, tending towards the toes on that side you are to wave; on the contrary, if the waving step is to be done on the heel, or with the foot up, the crescent must be in the place which represents the toes tending towards the heel.
Positions and half positions, waved and unwaved are when the heel or toe returns to the place from whence either of them moved, which is explained by the crescent being doubled, returning to the place from whence it came.
Examples of waving positions, where the toes or heels wave both one way, and are distinguished by the crescents being both on the same side.
28 Examples of waving and unwaving positions, where the feet turn and return both on the same side.
The change of positions, is changing or shifting from one position to another, whether true or false; to wit, from the first to the second, from the second to the third, and so on.
The change of positions is made two ways, either by springing, or waving.
Those which are performed by springing, are done when you spring from one position, and fall in another; and those which are performed by waving, must be done on the ground, by waving the two feet, or each foot separately, either on the toes or heels.
The shifting of positions by springing, may be known by what follows, videlicet by two positions, one of which has springing on it, and the other none55. Tables on pages 29 and 30 were omitted in this transcription.
31 The position which has springing marks on it, shows from whence the spring is to be made, and that which has no springing marks on it, only denotes in what position to fall, as may be seen by the foregoing tables.
Positions may also change in springing from one place to another, as in springing forwards, backwards, or sideways. This is explained by two lines of communication, that go from the position on which the springing marks are placed, to that where there are none: which lines denote the extension of the spring, and of which side it must fall.
32 Positions may also change in springing, by two steps being tied together at the heads; which shows, that they must move both at the same time.
The changing of waving positions, is the same with the change of springing positions, excepting, that instead of springing marks, you must use waving marks.
I have already said, that one position may change to another, by waving both feet at once, or separately.
Those which are to be made with both feet at once, are to be known by a waved position; and those which are to be made by one foot only, are known by a half position waved.
You must understand, the each page, on which the dance is described, represents the dancing-room; and the four 34 sides of the page, the four sides of the room, videlicet the upper part of the page, represents the upper end of the room; the lower part, the lower end; the right side of the page the right side of the room; and the left side, the left, as you may see by the following figure, of which A B C D represent the room, and E F G H, the page. E F show the upper part of the page66. Add, as E F do the upper end of the Room, G H the lower part (missing phrase is mentioned in Errata), as C D do the lower end; F H the right side of the page, as E F do the upper end of the room G H the lower part, as B D the right side of the room; and E G the left side of the page, as A C the left side of the room.
You must observe always to hold the upper end of the book against the upper end of the room; and whether the dance have any turning in it or not, you must carefully avoid removing the book from the situation above demonstrated.
When any steps are made without turning, or in turning quite round, then both sides of the book must be held with both hands; but in turning a quarter round, half round, or three quarters round, it will be necessary to take more care, because 35 it will be difficult to turn, unless the book turns also; yet this must be absolutely avoided; for if the book moves out of its situation, it will be impossible to comprehend the steps therein described; wherefore, for the better observation of this, I shall give you the following rules.
After having considered the turning, and on what side to turn, as for example, in a quarter turn to the right, you must put your left hand to the farther part of the book, and your right to the nearest. Your hands being thus prepared, in turning your quarter turn, bring your left hand in to you, whilst your right removes from you; so that both hands will by this means be equally advanced before you, holding the book by the same places before-mentioned, and you will find, that in turning a quarter round, the book will still remain in its former situation. You must make use of the same rule in a half turn.
I shall only add, that the hand, which is placed on the most opposite part of the book, must come quite in to your breast, while the other removes quite from you.
To turn three quarters round to the right, you must cross your hands more than you did in the half turn; so that your left hand must hold the upper part of that side which your right hand would naturally have held, had you not turned; and your right hand must hold the lower part of that side, which your left would otherwise have held. Your hands being thus prepared, you will turn three quarters round in the same manner as you did half round.
The same rules may be made use of in turning to the left, only you must observe, that instead of placing your left hand, you must place the right to that part of the book the farthest from you; and it may serve for a general rule, that in turning to the right, you first remove your left hand; and in turning to the left, you remove your right.
You must first find out the beginning of the tract, by which means you will know towards what part of the dancing-room the body is to be placed, before the dance begins, as has been shown before, in speaking of the posture, and presence of the body. Then observe whether there be any position, as you will find in the following examples, and there you are to place your self. Then see what step is nearest to the said position, and you will find it to be that which is marked number 1. Which having performed, observe which is nearest to that, and you will find it is that marked number 2. After this, you must move to number 3, then to number 4, &c. and so continue moving, observing exactly to perform that step which is nearest to the place where you are, and to follow always the same rule as well in moving forwards, backwards, and sideways, as in moving round.
The tract or line, on which dances are described, whether forward or backward, must be considered in respect to its right side marked R, and the left side marked L, as may be seen by the following example.
The steps and half positions, which are on the right side, are made with the right foot; and those which are on the left side, with the left foot, as the following movements will demonstrate, where I shall give to each step and half position, the same letters r and l, the better to explain them.
Besides the letters, R and L, the step and half position of the right or left foot, will be easily known, by observing which way the toes are turned.
The toe turning outwards on the right side, is the right foot, and the toe turning outwards on the left side, is the left.
The different tracts or figures made in dancing, whether forwards, backwards, sideways, or round, will be explained by what follows.
The tract marked A, is moving forwards, the face towards the upper end of the room.
The tract B retires or goes back, the face towards the lower end of the room.
The tract F is moving forwards, the face towards the right side of the room.
The tract H retires, the face towards the left side of the room.
The tract I, moves forwards, the face towards the left side of the room.
The tract K retires backwards, the face towards the right side of the room.
The tract G, move round, and the tract M, retire round77. Table on page 38 was omitted in this transcription.
39 In moving sideways, the tract or line must also be considered as to its two sides, videlicet the upper side marked X, and the under side marked Y. Steps and half positions, which are on the upper side of the line, are to be made with the foremost foot, and those which are on the under side, with the hinder foot.
The tracts marked N, are moving sideways to the right, towards the lower end of the room.
The tracts R, move round sideways to the right.
And the tracts S, move round sideways to the left.
A step which begins with the hind foot, in order to move sideways, to end on a line with the other foot, ought to begin from the part under the line, and rise obliquely sideways towards that above, as you may see by the following step.
A step, which is to cross behind the foregoing step, must begin above the line, and descend obliquely below it; and which you will easily understand by the following example: the first step you may know by number 1, and the other, which crosses, by number 2.
A step, which begins with the foremost foot, in order to move sideways, to end on a line with the other foot, ought to begin from the part above the line, and descend obliquely sideways towards that below, as the following step, marked number 1, will show.
40 A step, which is to cross behind88. Read, to cross before (misprint is mentioned in Errata) the foregoing step, must begin from below the line, and rise obliquely above it, which you may observe by the step number 1.
For example, if you have moved from the lower end of the room, to the upper end, and have a mind to return upon the same tract, as the tract marked A, you must remove, and place the line or tract, on which you would return, on one side or the other, as you shall find most convenient, as is marked by the letter B, and which in effect is the same with the foregoing; which two tracts must be joined together by a pointed line marked C, which only serves to conduct the sight from one line to the other.
41 The same thing must be observed in moving several times round on the same circle, as upon the circle marked D; about which may be described as many circles as shall be necessary. As for example, the circles E and F, which must be supposed to be on the same circle with the circle D.
I might have marked the positions, in which each step ought to terminate; but since this must have created a great deal of trouble, I shall only confine my self to mark them on joined and unclosed steps, and for the rest, whether forwards, backwards, sideways, or crossed, the positions may be easily known, without marking them, in observing that which follows.
Steps which move forwards or backwards, shall be taken to be in the fourth position.
Steps which move straight, opening sideways, shall be taken to be in second the position, and steps crossing, whether forwards or backwards, shall be taken to be in the fifth position.
42 If it should happen nevertheless, that any of the above-mentioned steps should terminate upon both feet, as it often happens in rising and springing, it is then necessary to mark the position; without which it would be impossible to know, that the rising and springing should be on both feet; wherefore, in demonstrating the positions of joined and unclosed steps, I will add to them those before-mentioned, on which I will also mark the positions, to make use of on occasion.
When a step terminates in a position, there ought to be no foot at the end of it, because the half position, to which it is joined, serves for that.
43 A position at the end of a step, may be also known by adding to the step a half position, because the representation of the foot, which is at the extremity of the step, is made use of, upon this occasion, for a half position; and a half position joined to it, is the same as a whole position.
The same rule must be observed in beaten steps, videlicet that the half position represents the foot, against which the other beats; and whereby you may know whether the beat be made on the instep, behind the heel, against the ankle, or against the side of the foot.
44 You must observe, that when two steps terminate both in the same position, the first moves without any regard to the position, and it is the last only that must observe the said position; as the following examples will demonstrate.
All steps may be either simple or compound.
A simple step, is that which is alone, as all those which hitherto demonstrated; and a compound step, is, where two or more steps are joined together by a line, and which then are to be reputed as one step only, as will appear by the following steps.
45 To practise more easily what has already been taught and demonstrated, you may make use of the following tables; where you will find all or the greatest part of the steps used in dancing, whether with one foot, or the other, forwards, backwards, sideways, or turning, as well upon straight lines, as diametrical.
You must observe, that each square contains only one step, which I have writ down twice, to the end to show, that what is performed with one foot, may also be performed with the other.
An explanation of the steps contained in each square, is also writ down with them; and whereas some of the words and terms are abbreviated for want of room, I have put down here a short explanation of them99. 41 pages of tables were omitted in this transcription.
These four last steps are all of them in the rigaudon of mister Isaac's, and give a particular grace to the dance which the common way of performing them would not do; and it is to mister Isaac we owe the so frequent use of them here since they are seldom, or ever found, in any other dances whatsoever.
There are three sorts of time in dancing, videlicet common time, triple time, and quadruple time.
Common time, is used in gavottes, galliards, bourrées, rigandons1010. Read, rigaudons (misprint is mentioned in Errata), jigs, and canaries.
Triple time, is made use of in courants, sarabands, chaconnes, passacailes, minuets, and passe-pieds.
And quadruple time, is made use of in slow tunes, as appears by the second tune in the following plate, and the tunes called loures.
To tunes of common or triple time, a step is put for each bar or measure; and to tunes of quadruple time, you must put two.
It is to be observed nevertheless, that in courant movements, two steps are put to each bar or measure; the first of which takes up two parts in three of the measure, and the second takes up the third part; and in the minuet, one step is put to two bars or measures.
The bars or measures in dances, must be marked in like manner with those in musick, videlicet with little bars crossing the tract, which are to agree with those of the tune.
You will understand by the following examples, how each step agrees with the tune to which they are composed1111. Musical notation page was omitted in this transcription.
49 If it happens that you have occasion to put more steps in a measure, than are in the foregoing examples, the following rules must be observed.
If, for example, you would in a measure of common time, or half a measure of quadruple time, which is the same thing, put a fleuret and a bound; the three steps composing the fleuret, must have a double tie to join them, and which will show their motion to be as swift again, as if there had been but one; the bound also must be joined to the fleuret with a single tie only; by which you will know, that these two steps are in effect but one.
If you would put the same step in a measure of triple time, the two first steps of the fleuret must only have a double tie.
50 When in dancing some measures of the tune, are to be let slip, whether in the beginning or middle of the dance, it must be marked in the following manner, vis. by a little stroke crossing obliquely the tract, and as many of them are to be marked, as there are bars to be let slip; and in describing a half measure, half the stroke only must be marked.
The same stroke longways, parallel with the tract, is equivalent to four of the foregoing strokes, and takes up four measures of the tune.
For a time, half time, or quarter time, &c. they may be marked in the same manner as they are in musick.
In tunes, which begin with odd notes, as gavottes, chaconnes, jigs, loures, bourrées, &c. the foregoing marks must be made use of in the beginning of the tract.
The letters of the alphabet, which are placed upon the steps in the following example, and which are also placed over the 51 notes of the tune, demonstrate the time or cadence of a dance.
There are two sorts of figures in dancing, videlicet a regular, and an irregular.
52 A regular figure, is when two or more dancers move contrarily, the one to the right, and the other to the left.
An irregular figure, is when two dancers move together, both in the same figure, on the same side.
By the mark representing the presence of the body, you will distinguish the tract for the man, from that of the woman; in that for the man, the half circle is single, and that for the woman, is double. The distinction for two men, or two women dancing together, is known by a point placed in the middle of the half circle of one of them, that wherein the point is, representing the tract for the woman side.
If a number of dancers figure together, the mark for the placing the body will not be sufficient to distinguish them, (as in a dance for eight:) on this occasion therefore, you may make use of letters, of which AA may represent two which figure together. BB two others. CC two more, and DD the other two; each of which, will also be distinguished by there figuring, and which the following example will demonstrate.
I have already shown, that the tract serves for two ends, videlicet first, on which to describe the steps and positions; and secondly, for the direction of the figure of the dance.
I shall now add, that when in dancing, several steps are to be performed in the same place, the tract is then to be respected only as the conductor of the step, and not in relation to the figure; but where the steps move continually from one place to another, then the tract is to be observed, not only for the description of the steps, but also for the figure of the dance. Place your self then where the beginning of the tract directs, and observe whether the figure be straight, diametrical, circular, or oblique, whether it be forwards, backwards, or sideways, if to the right, or to the left; all which I have already demonstrated in the foregoing pages; then having learnt the tune, which must be pricked down on the top of each page, add the steps to the tune, as has been already shown, moving in the figure as is described on the paper. When it happens that the tract or tracts cross one another, the steps on the one, must 54 leave a sufficient breach, for the describing the steps; on the other, to avoid confusion.
You will know when to give the hand, by a small crescent or half circle at the end of a little bar or stroke, which is to be placed on the side of the tract, videlicet when it is on the right side of the tract, it shows, that you must give the right hand; and when on the left, it shows the left hand is to be given; and when there is one on each side, both hands must then be given.
When you have thus given one hand or both, you are not to quit hands, till you find the same marks cut through with another little stroke, which shows, that in that place the hands are to let go.
Although the carriage and movement of the arms depend more on the fancy of the performer, than on any certain rules, I shall nevertheless lay down some examples, which will explain, by demonstrative characters, the different motion of the arms in dancing; or at least, will inform you what characters to make use of in describing the motion of the arms, to the movement of each step.
The arm is represented by the letters ABC, of which A represents the shoulder, B the elbow, and C the wrist.
In moving forwards or backwards in the dance, the arms must be marked on each side the tract, the right arm on the right side the tract, and the left arm on the left side; but when in the figure of the dance, the movement is sideways, they are to be marked both on one side, always observing, that the right arm must be to the right, and the left arm to the left.
56 I shall not pretend to make a long disquisition on the motion of the arms, but shall only add, that as there are three movements from the waste downwards, so there are also three movements in the arms, which have a correspondence, and are agreeing with them below, videlicet that of the wrist, has relation to the heel; that of the elbow, to the knee, and that of the shoulder, or the whole arm, to the thigh.
You will know when the arm moves by an arched line, marked C D, drawn from that which represents the end of the arm, which shows the figure the wrist makes in moving, as from C to D.
The movements of the arms are to be performed two ways, upwards or downwards; upwards from the position of the arm below, or downwards from the position above.
The motion of the arm upwards, is when the arm, which is open or extended, closes (in approaching) to the body ascending, and the motion of the arm downwards, is when the arm, which is closed, opens or extends it self descending.
47 The arms may either move both together, or one after the other; you will know when the arms are to move together, by a line or tie drawn from the one to the other; and when there is no tie, they are then to move one after the other.
The arms may either move alike with the same movement, as when both arms either open or extend themselves together, or close, or approach each other at the same time.
Or they may move contrary one to the other, when the one opens, and the other closes.
You must resolve in what part of the room the dance is to begin, and there place the beginning of the tract; then trace out the figure, and mark thereon the position; then describe the steps, as I have shown in the foregoing examples; and if you find any difficulty in writing any of the steps, you must make use of your table of steps; and in finding the step you have occasion for, you ought first to consider what step it is, whether courant, coupée, bourée, bound, contretemps, &c. Suppose, for example, the step to be a bourée, turn then to the table of bourrées or fleurets, and having found the step you 58 want, observe after what manner it is described, and then write it down in your dance.
On the top of each page, on which your dance is described, you must prick down as many bars of the tune, as there are barns or measures in the dance.
Although the tract serves generally for the explaining the figure of the dance, yet it often happens that many steps are to be performed in the same place, and then (as I have shown before) the tract is to have regard only to the steps. This tract is only a borrowed tract, and which may be drawn any way, as shall be most convenient. As for example, from A to B, although the tract is drawn out in length from A to B, the dancer nevertheless removes not from A, which may also be well understood by the steps, which are from A to B, which can only be performed in the same place.
You must observe at the end of each page, the place where the dancer finishes, and to what part of the room the face directs, by which means you will readily know where to place the beginning of the tract in the following page; and so continue from page to page, to the end of the dance.
But if in the beginning of a page, two dancers should happen to be close together, and some steps to be performed in the same place; which steps cannot be conveniently described, neither 59 on one side, or the other, and that the closeness of the dancers, will not admit of advancing of the tracts, one towards the other; you must then be obliged, instead of placing the tracts at C D, to retire as far back as will be necessary to describe the steps, so that the steps may end at C D.
Or else the contrary may be done, by placing the beginning of the steps at C D; and instead of describing the steps one towards the other, they must separate, as from C to E, and D to F.
You will find these are performed without the dancers moving out of their places; and both these examples are equally good, in considering only which agrees best with the figure of the dance that follows.
If in the dances in the second volume, you find some of the steps longer than others, you must have no regard to them, as to their length in the description of them, but judge of their extension by the distance of positions, (as I have already shown in the termination of the steps, in their positions); so that you are not to conclude any thing from the length or shortness of steps.
