During eight bars of music, tip, crimson, camellia, and wristbands, bow to freckles, slight cast, marabouts, and black satin, who curtsey in return, and then commence

LA PANTALON,

by performing an intersecting figure that brings all parties exactly where they were; which joyous circumstance is celebrated by bobbing for four bars opposite to each other, and then indulging in a universal twirl which apparently offends the ladies, who seize hold of each other’s hands only to leave go again, and be twirled round by the opposite gentleman, who, having secured his partner, promenades her half round to celebrate his victory, and then returns to his place with his partner, performing a similar in-and-out movement as that which commenced la Pantalon.

L’ETE

is a much more respectful operation.  Referring to our previous arrangement, wristbands and freckles would advance and retire—­then they would take two hops and a jump to the right, then two hops and a jump to the left—­then cross over, and there hop and jump the same number of times and come back again, and having celebrated their return by bobbing for four bars, they twirl their partners again, and commence

LA POULE.

The crimson waistcoat and marabouts would shake hands with their right, and then cross over, and having shaken hands again with the left, come back again.  They then would invite the camellia and the slight cast to join them, and perform a kind of wild Indian dance “all of a row.”  After which they all walk to the sides they have no business upon, and then crimson runs round marabout, and taking his partner’s hand, i.e., the slight cast, introduces her to camellia and marabout, as though they had never met before.  This introduction is evidently disagreeable, for they instantly retire, and then rush past each other, as furiously as they can, to their respective places.

LA TRENISE

is evidently intended to “trot out” the dancers.  Freckles and black satin shake hands as they did in la Pantalon, and then freckles trots tip out twice, and crosses over to the opposite side to have a good look at him; having satisfied her curiosity, she then, in company with black satin, crosses over to have a stare at the violent wristbands, in contrast with tip who wriggles over, and join him, and then, without saying a word to each other, bob, and are twirled as in l’Ete.

LA PASTORALE

seems to be an inversion of la Trenise, except that in nineteen cases out of twenty, the waistcoat, tip, camellia and wristbands, seem to undergo intense mental torture; for if there be such a thing as “poetry of motion,” pastorale must be the “Inferno of Dancing.”

LA FINALE