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 to revive it, but his arrangement never became popular. Other dances which were naturalized in France were the Écossaise, popular in 1760; the Cotillon, fashionable under Charles X., derived from the peasant branles and danced by ladies in short skirts; the Galop, imported from Germany; the Lancers, invented by Laborde in 1836; the Polka, brought by a dancing-master from Prague in 1840; the Schottische, also Bohemian, first introduced in 1844; the Bourrée, or French clog-dance; the Quadrille, known in the 18th century as the Contre-danse; and the Waltz, which was danced as a volte by Henry III. of France, but only became popular in the beginning of the 19th century. We shall return to the history of some of these later dances in discussing the dances at present in use.

If France has been the nursery and school of the art of dancing, Spain is its true home. There it is part of the national life, the inevitable expression of the gay, contented, irresponsible, sunburnt nature of the people. The form of Spanish dances has hardly changed; some of them are of great antiquity, and may be traced back with hardly a break to the performances in ancient Rome of the famous dancing-girls of Cadiz. The connexion is lost during the period of the Arab invasion, but the art was not neglected, and Jovellanos suggests that it took refuge in the Asturias. At any rate, dances of the 10th and 12th centuries have been preserved uncorrupted. The earliest dances known were the Turdion, the Gibidana, the Pié-de-gibao, and (later) the Madama Orleans, the Alemana and the Pavana. Under Philip IV. theatrical dancing was in high popularity, and ballets were organized with extraordinary magnificence of decoration and costume. They supplanted the national dances, and the Zarabanda and Chacona were practically extinct in the 18th century. It is at this period that the famous modern Spanish dances, the Bolero, Seguidilla and the Fandango, first appear. Of these the Fandango is the most important. It is danced by two people in 6–8 time, beginning slowly and tenderly, the rhythm marked by the click of castanets, the snapping of the fingers and the stamping of feet, and the speed gradually increasing until a whirl of exaltation is reached. A feature of the Fandango and also of the Seguidilla is a sudden pause of the music towards the end of each measure, upon which the dancers stand rigid in the attitudes in which the stopping of the music found them, and only move again when the music is resumed. M. Vuillier, in his History of Dancing, gives the following description of the Fandango:—“Like an electric shock, the notes of the Fandango animate all hearts. Men and women, young and old, acknowledge the power of this air over the ears and soul of every Spaniard. The young men spring to their places, rattling castanets or imitating their sound by snapping their fingers. The girls are remarkable for the willowy languor and lightness of their movements, the voluptuousness of their attitudes—beating the exactest time with tapping heels. Partners tease and entreat and pursue each other by turns. Suddenly the music stops, and each dancer shows his skill by remaining absolutely motionless, bounding again into the full life of the Fandango as the orchestra strikes up. The sound of the guitar, the violin, the rapid tic-tac of heels (taconeos), the crack of fingers and castanets, the supple swaying of the dancers, fill the spectator with ecstasy. The measure whirls along in a rapid triple time. Spangles glitter; the sharp clank of ivory and ebony castanets beats out the cadence of strange, throbbing, deepening notes—assonances unknown to music, but curiously characteristic, effective and intoxicating. Amidst the rustle of silks, smiles gleam over white teeth, dark eyes sparkle and droop and flash up again in flame. All is flutter and glitter, grace and animation—quivering, sonorous, passionate, seductive.”

The Bolero is a comparatively modern dance, having been invented by Sebastian Cerezo, a celebrated dancer of the time of King Charles III. It is remarkable for the free use made in it of the arms, and is said to be derived from the ancient Zarabanda, a violent and licentious dance, which has entirely disappeared, and with which the later Saraband has practically nothing in common. The step of the Bolero is low and gliding but well marked. It is danced by one or more couples. The Seguidilla is hardly less ancient than the Fandango, which it resembles. Every province in Spain has its own Seguidilla, and the dance is accompanied by coplas, or verses, which are sung either to traditional melodies or to the tunes of local composers; indeed, the national music of Spain consists largely of these coplas. Baron Davillier, among several specimens of Seguidillas, gives this one

M. Vuillier quotes a copla which he heard at Polenza, in the Balearic Islands. This verse is formed on the rhythm of the Malagueña:

The Jota is the national dance of Aragon, a lively and splendid, but withal dignified and reticent, dance derived from the 16th-century Passacaille. It is still used as a religious dance. The Cachuca is a light and graceful dance in triple time. It is performed by a single dancer of either sex. The head and shoulders play an important part in the movements of this dance. Other provincial dances now in existence are the Jaleo de Jerez, a whirling measure performed by gipsies, the Palotéa, the Polo, the Gallegada, the Muyneria, the Habas Verdes, the Zapateado, the Zorongo, the Vito, the Tirano and the Tripola Trapola. Most of these dances are named either after the places where they are danced or after the composers who have invented tunes for them. Many of them are but slight variations from the Fandango and Seguidilla.

The history of court dancing in Great Britain is practically the same as that of France, and need not occupy much of our attention here. But there are strictly national dances still in existence which are quite peculiar to the country, and may be traced back to the dances and games of the Saxon gleemen. The Egg dance and the Carole were both Saxon dances, the Carole being a Yule-tide festivity, of which the present-day Christmas carol is a remnant. The oldest dances which remain unchanged in England are the Morris dances, which were introduced in the time of Edward III. The name Morris or Moorish refers to the origin of these dances, which are said to have been brought back by John of Gaunt from his travels in Spain. The Morris dances are associated with May-day, and are danced round a maypole to a lively and capering step, some of the performers having bells fastened to their knees in the Moorish manner. They are dressed as characters of old English tradition, such as Robin Hood, Maid Marian, Friar Tuck, Little John and Tom the Piper. All the true country dances of Great Britain are of an active and lively measure; they may all, indeed, be said to be founded on the jig; and the hornpipe, which is a kind of jig, is the national dance of England. Captain Cook, on his voyages, made his sailors dance hornpipes in calm weather to keep them in good health. A characteristic of English dances was that they partook to a great extent of the nature of games; there was little variety in the steps, which were nearly all those of the jig or hornpipe, but these were incorporated into various games or plays, of which the Morris dances were the most elaborate. Richard Baxter wrote that “sometimes the Morris dancers would come into the church in all their linen and scarves and antic dresses, with Morris bells jingling at their legs; and as soon as Common Prayer was read, did haste and presently to their play again.” May-day has always been celebrated in England with rustic dances and festivities. Before the Reformation there were no