Part 8

is played by two persons. The cards are shuffled by both players, and when they have cut for deal (which falls to the lot of him who cuts the lowest), the dealer has the liberty to shuffle them again. When this is done, the adversary cuts them; after which, the dealer gives one card to his opponent, and one to himself. Should the dealer's adversary not approve of his card, he is entitled to have as many cards given to him, one after the other, as will make fifteen, or come nearest to that number; which are usually given from the top of the, pack: for example--if he should have a deuce, and draw a five, which amounts to seven, he must continue going on, in expectation of coming nearer to fifteen. If he draw an eight, which will make just fifteen, he, as being eldest hand, is sure of winning the game. But if he overdraw himself, and make more than fifteen, he loses, unless the dealer should happen to do the same; which circumstance constitutes a drawn game; and the stakes are consequently doubled. In this manner they persevere, until one of them has won the game, by standing and being nearest to fifteen. At the end of each game the cards are packed and shuffled, and the players again cut for deal. The advantage is invariably or the side of the elder hand.

135. Solitaire

This is a game for one person, played on a board pierced with thirty-seven holes, in each one of which is placed a marble or peg. The art or motive of the game is to remove one marble and then to shift the rest about, so as to bring the last marble to the hole whence the first was removed. One marble or man takes any other over which it can leap into a vacant hole beyond; or any number of men in succession, so long as there is a hole into which it can go. An example of a game played will better explain the method, than any amount of verbal instruction.

Remove the marble from the centre hole; then bring the marble from 1 in the upper limb of the diagram, to the centre, jumping over and taking the piece between. By following the direction of the figures, it will be found that the last place arrived at will be the centre from which you started. With practice and patience the Solitaire player will be able to start from and return to any hole on the board.

5 O-----O-----O 35 | | | | 1 | | 14 O-----O-----O 4 | | | 17 16 18 17 |15 16|18 3|5 18 2 15 O-----O-----O-----O-----O-----O-----O 9 | | | |2 | | | | | 14|21 19|20 4 |6 22 | | O-----O-----O-----O-----O-----O-----O | | |12 1 |22 |21 19| | | 10|18 11|13 18|8 7 |9 8 |18 7 | 17 O-----O-----O-----O-----O-----O-----O 9 | 10|18 | | 20| 6 | 12 O-----O-----O | | | |13 |13 | 11 O-----O-----O THE CENTRE-HOLE GAME.

Many variations of the game will suggest themselves as you proceed; but the above will suffice to show the plan and system of Solitaire.

136. Backgammon.

A game of mingled chance and skill, played on a board marked with points, and generally to be found inside the box draughtboard. The board has twenty-four points, coloured alternately red and blue; the implements of play are fifteen draught-men on each side, and the movements of the men are determined by the throw of two dice; each player being provided with a dice box and dies. It is an elaborate game to explain on paper, and would occupy too much space to be given in detail in this work. Those, however, who desire to be fully informed as to its various intricacies, may consult "Bohn's Handbook of Games," or the cheaper and more concise treatise by Captain Crawley.

137. Dominoes.

This game is played by two or four persons, with twenty-eight pieces of oblong ivory, plain at the back, but on the face divided by a black line in the middle, and indented with spots, from one to a double-six, which pieces are a double-blank, ace-black, double-ace, deuce-blank, deuce-ace, double-deuce, trois-blank, trois-ace, trois-deuce, double-trois, four-blank, four-ace, four-deuce, four-trois, double-four, five-blank, five-ace, five-deuce, five-trois, five-four, double-five, six-blank, six-ace, six-deuce, six-trois, six-four, six-five, and double-six. Sometimes a double set is played with, of which double-nine is the highest.

138. Method of Play.

At the commencement of the game the dominoes are well mixed together, with their faces upon the table. Each player draws one, and if four play, those who choose the two highest are partners against these who take the two lowest. Drawing the latter also serves to determine who is to lay down the first piece--a great advantage. Afterwards each player takes seven pieces at random. The eldest hand having laid down one, the next must pair him at either end of the piece he may choose, according to the number of pips, or the blank in the compartment of the piece; but whenever any one cannot match the part, either of the domino last put down, or of that unpaired at the other end of the row, then he says, "_Go_;" and the next is at liberty to play. Thus they play alternately, either until one party has played all his pieces, and thereby won the game, or till the game be _blocked_; that is, when neither party can play, by matching the pieces where unpaired at either end; then that player wins who has the smallest number of pips on the pieces remaining in his hand. It is to the advantage of every player to dispossess himself as early as possible of the heavy pieces, such as a double-six, five, four, &c. Sometimes, when two persons play, they take each only three or five pieces, and agree to _play_ or _draw_, i.e., when one cannot come in, or pair the pieces upon the board at the end unmatched, he draws from the pieces in stock till he finds one to suit. There are various other ways of playing dominoes, but they are all dependent on the matching of the pips.

139. Quadrilles.

The First Set.

_First Figure, Le Pantalon_.--Right and left. Balancez to partners; turn partners. Ladies' chain. Half promenade; half right and left. (Four times.)

_Second Figure, L'Été_.--Leading lady and opposite gentleman advance and retire; chassez to right and left; cross over to each other's places; chassez to right and left. Balancez and turn partners. (Four times.)

_Or Double L'Été_.--Both couples advance and retire at the same time; cross over; advance and retire again; cross to places. Balancez and turn partners. (Four times.)

_Third Figure, La Poule_.--Leading lady and opposite gentleman cross over, giving right hands; recross, giving left hands, and fall in a line. Set four in a line; half promenade. Advance two, and retire (twice). Advance four, and retire; half right and left. (Four times.)

_Fourth Figure, Trenise_.--The first couple advance and retire twice, the lady remaining on the opposite side; the two ladies go round the first gentleman, who advances up the centre; balancez and turn hands. (Four times.)

_Fifth Figure, La Pastorale_.--The leading couple advance twice, leaving the lady opposite the second time. The three advance and retire twice. The leading gentleman advance and set. Hands four half round; half right and left. [1] (Four times)

_Sixth Figure, Galop Finale_.--Top and bottom couples galopade quite round each other. Advance and retire; four advance again, and change the gentlemen. Ladies' chain. Advance and retire four, and regain your partners in your places. The fourth time all galopade for an unlimited period. (Four times.)

_Or_, All galopade or promenade, eight bars. Advance four _en galopade oblique_, and retire, then half promenade, eight bars. Advance four, retire, and return to places with the half promenade, eight bars. Ladies' chain, eight bars. Repeated by the side couples, then by the top and bottom, and lastly by the side couples, finishing with grand promenade.

In different companies the Quadrille varies slightly. For instance, in the last figure, sometimes called Flirtation, the four couples set in a circle, the gentlemen turn their partners, the ladies advance to the centre and retire, the gentlemen advance and retire; the gentlemen turn the ladies to the left and promenade: the whole figure being repeated four times.

[Footnote 1: This or the Trenise must be omitted.]

140.--Lancers.

i. _LaRose_.--First gentleman and opposite lady advance and set--turn with both hands, retiring to places--return, leading outside--set and turn at corners.

ii. _La Lodoiska_.--First couple advance twice, leaving the lady in the centre--set in the centre--turn to places--all advance in two lines--all turn partners.

iii. _La Dorset_.--First lady advance and stop, then the opposite gentleman--both retire, turning round--ladies' hands across half round, and turn the opposite gentlemen with left hands--repeat back to places, and turn partners with left hands.

iv. _L'Étoile_.--First couple set to couple at right--set to couple at left--change places with partners, and set, and pirouette to places--right and left with opposite couple,

v. _Les Lanciers_.--The grand chain. The first couple advance and turn facing the top; then the couple at right advance behind the top couple; then the couple at left and the opposite couple do the same, forming two lines. All change places with partners and back again. The ladies turn in a line on the right, the gentlemen in a line on the left. Each couple meet up the centre. Set in two lines, the ladies in one line, the gentlemen in the other. Turn partners to places. Finish with the grand chain.

141. The Caledonians.

_First Figure_.--The first and opposite couples hands across round the centre and back to places--set and turn partners. Ladies' chain. Half promenade--half right and left. Repeated by the side couples.

_Second Figure_.--The first gentleman advance and retire twice. All set at corners, each lady passing into the next lady's place on the right. Promenade by all. Repeated by the other couples.

_Third Figure_.--The first lady and opposite gentleman advance and retire, bending to each other. First lady and opposite gentleman pass round each other to places. First couple cross over, having hold of hands, while the opposite couple cross on the outside of them--the same reversed. All set at corners, turn, and resume partners. All advance and retire twice, in a circle with hands joined--turn partners.

_Fourth Figure_.--The first lady and opposite gentleman advance and stop; then their partners advance; turn partners to places. The four ladies move to right, each taking the next lady's place, and stop--the four gentlemen move to left, each taking the next gentleman's place, and stop--the ladies repeat the same to the right--then the gentlemen to the left. All join hands and promenade round to places, and turn partners. Repeated by the other couples.

_Fifth Figure_.--The first couple promenade or waltz round inside the figure. The four ladies advance, join hands round, and retire--then the gentlemen perform the same--all set and turn partners. Chain figure of eight half round, and set. All promenade to places and turn partners. All change sides, join right hands at corners, and set--back again to places. Finish with grand promenade.

These three are the most admired of the quadrilles: the First Set invariably takes precedence of every other dance.

[COFFEE WAS FIRST BROUGHT TO ENGLAND IN 1641.]

142. Spanish Dance.

Danced in a circle or a line by sixteen or twenty couples. The couples stand as for a Country Dance, except that the first gentleman must stand on the ladies' side, and the first lady on the gentlemen's side. First gentleman and second lady balancez to each other, while first lady and second gentleman do the same, and change places. First gentleman and partner balancez, while second gentleman and partner do the same, and change places. First gentleman and second lady balancez, while first lady and second gentleman do the same, and change places. First gentleman and second lady balancez to partners, and change places with them. All four join hands in the centre, and then change places, in the same order as the foregoing figure, four times. All four poussette, leaving the second lady and gentleman at the top, the same as in a Country Dance. The first lady and gentleman then go through the same figure with the third lady and gentleman, and so proceed to the end of the dance. This figure is sometimes danced in eight bars time, which not only hurries and inconveniences the dancers, but also ill accords with the music.

143. Waltz Cotillon.

Places the same as quadrille. First couple waltz round inside; first and second ladies advance twice and cross over, turning twice; first and second gentlemen do the same; third and fourth couples the same; first and second couples waltz to places, third and fourth do the same; all waltz to partners, and turn half round with both hands, meeting the next lady; perform this figure until in four places; form two side lines, all advance twice and cross over, turning twice; the same, returning; all waltz round; the whole repeated four times.

144. La Galopade

is an extremely graceful and spirited dance, in a continual chassez. An unlimited number may join; it is danced in couples, as waltzing.

145. The Galopade Quadrilles.

1st. Galopade. 2nd, Right and left, sides the same. 3rd, Set and turn, hands all eight. 4th, Galopade. 5th, Ladies' chain, sides the same. 6th, Set and turn partners all eight. 7th, Galopade. 8th, Tirois, sides the same. 9th, Set and turn partners all eight. 10th, Galopade. 11th, Top lady and bottom gentleman advance and retire, the other six do the same. 12th, Set and turn partners all eight. 13th, Galopade. 14th, Four ladies advance and retire, gentlemen the same. 15th, Double ladies' chain. 16th, Set and turn partners all eight. 17th, Galopade. 18th, Poussette, sides the same. 19th, Set and turn. 20th, Galopade waltz.

146. The Mazurka.

This dance is of Polish origin--first introduced into England by the Duke of Devonshire, on his return from Russia. It consists of twelve movements; and the first eight bars are played (as in quadrilles) before the first movement commences.

147. The Redowa Waltz

is composed of: three parts, distinct from each other. 1st, The Pursuit. 2nd, The waltz called Redowa. 3rd, The waltz a Deux Temps, executed to a peculiar measure, and which, by a change of the rhythm, assumes a new character. The middle of the floor must he reserved for the dancers who execute the promenade, called the pursuit, while those who dance the waltz turn in a circle about the room. The position of the gentleman is the same as for the waltz. The gentleman sets out with the left foot, and the lady with the right. In the pursuit the position is different, the gentleman and his partner face, and take each other by the hand. They advance or fall back at pleasure, and balance in advance and backwards. To advance, the step of the pursuit is made by a glissade forward, without springing, _coupé_ with the hind foot, and _jeté_ on it. You recommence with the other foot, and so on throughout. The retiring step is made by a sliding step of the foot backwards, without spring, _jeté_ with the front foot, and _coupé_ with the one behind. It is necessary to advance well upon the sliding step, and to spring lightly in the two others, _sur place_, balancing equally in the _pas de poursuite_, which is executed alternately by the left in advance, and the right backwards. The lady should follow all the movements of her partner, falling back when he advances, and advancing when he falls back. Bring the shoulders a little forward at each sliding step, for they should always follow the movement of the leg as it advances or retreats; but this should not be too marked. When the gentleman is about to waltz, he should take the lady's waist, as in the ordinary waltz. The step of the Redowa, in turning, may be thus described. For the gentleman--_jete_ of the left foot, passing before the lady. _Glissade_ of the right foot behind to the fourth position aside--the left foot is brought to the third position behind--then the _pas de basque_ is executed by the right foot, bringing it forward, and you recommence with the left. The _pas de basque_ should be made in three very equal beats, as in the Mazurka. The lady performs the same steps as the gentleman, beginning by the _pas de basque_ with the right foot. To waltz à deux temps to the measure of the Redowa, we should make each step upon each beat of the bar, and find ourselves at every two bars, the gentleman with his left foot forwards, and the lady with her right, that is to say, we should make one whole and one half step to every bar. The music is rather slower than for the ordinary waltz.

[PHOSPHORUS WAS DISCOVERED IN 1677.]

148. Valse Cellarius.

The gentleman takes the lady's left hand with his right, moving one bar to the left by _glissade_, and two hops on his left foot, while the lady does the same to the right, on her right foot; at the second bar they repeat the same with the other foot--this is repeated for sixteen bars; they then waltz sixteen bars, _glissade_ and two hops, taking care to occupy the time of two bars to get quite round. The gentleman now takes both hands of the lady, and makes the grand square--moving three bars to his left--at the fourth bar making two beats while turning the angle; his right foot is now moved forward to the other angle three bars--at the fourth, beat again while turning the angle; the same repeated for sixteen bars--the lady having her right foot forward when the gentleman has his left toot forward; the waltz is again repeated; after which several other steps are introduced, but which must needs be seen to be understood.

149. Circular Waltz.

The dancers form a circle, then promenade during the introduction--all waltz sixteen bars--set, holding partner's right hand, and turn--waltz thirty-two bars--rest, and turn partners slowly--face partner and chassez to the right and left--pirouette lady twice with the right hand, all waltz sixteen bars--set and turn--all form a circle, still retaining the lady by the right hand, and move round to the left, sixteen bars--waltz for finale.

150. Polka Waltzes.

The couples take hold of hands as in the usual waltz.

_First Waltz_. The gentleman hops the left foot well forward, then hack; and _glissades_ half round. He then hops the right foot forward and back, and _glissades_ the other half round. The lady performs the same steps, beginning with the right foot.

_Second._ The gentleman, hopping, strikes the left heel three times against the right heel, and then jumps half round on the left foot; he then strikes the right heel three times against the left, and jumps on the right foot, completing the circle. The lady does the same steps with reverse feet.

_Third._ The gentleman raises up the left foot, steps it lightly on the ground forward, then strikes the right heel smartly twice, and _glissades_ half round. The same is then done with the other foot. The lady begins with the right foot.

151. Valse a Deux Temps.

This waltz contains, like the common waltz, three times, but differently divided. The first time consists of a gliding step; the second a chassez, including two times in one. A chassez is performed by bringing one leg near the other, then moving it forward, backward, right, left, and round. The gentleman begins by sliding to the left with his left foot, then performing a chassez towards the left with his right foot without turning at all during the first two times. He then slides backwards with his right leg, turning half round; after which he puts his left leg behind, to perform a chassez forward, turning then half round for the second time. The lady waltzes in the same manner, except that the first time she slides to the right with the right foot, and also performs the chassez on the right, and continues the same as the gentleman, except that she slides backwards with her right foot when the gentleman slides with his left foot to the left; and when the gentleman slides with his right foot backwards, she slides with the left foot to the left. To perform this waltz gracefully, care must be taken to avoid jumping, but merely to slide, and keep the knees slightly bent.

[AVERAGE WEIGHT OF MAN'S BRAIN, 3-1/2LBS, WOMAN'S 2LBS. 11OZ.]

152. Circassian Circle.

The company is arranged in couples round the room--the ladies being placed on the right of the gentlemen,--after which, the first and second couples lead off the dance.

_Figure._ Eight and left, set and turn partners--ladies' chain, waltz.

At the conclusion, the first couple with fourth, and the second with the third couple, recommence the figure,--and so on until they go completely round the circle, when the dance is concluded.

153. Polka.

In the polka there an but two principal steps, all others belong to fancy dances, and much mischief and inconvenience is likely to arise from their improper introduction into the ball-room.

_First step._ The gentleman raises the left foot slightly behind the right, the right foot is then hopped with, and the left brought forward with a glissade. The lady commences with the right, jumps on the left, and glissades with the right. The gentleman during his step has hold of the lady's left hand with his right.

_Second step._ The gentleman lightly hops the left foot forward on the heel, then hops on the toe, bringing the left foot slightly behind the right. He then glissades with the left foot forward; the same is then done, commencing with the right foot. The lady dances the same step, only beginning with the right foot.

There are a variety of other steps of a fancy character, but they can only be understood with the aid of a master, and even when well studied, must be introduced with care. The polka should be danced with grace and elegance, eschewing all _outré_ and ungainly steps and gestures, taking care that the leg is not lifted too high, and that the dance is not commenced in too abrupt a manner. Any number of couples may stand up, and it is the privilege of the gentleman to form what figure he pleases, and vary it as often as his fancy and taste may dictate.

_First Figure._ Four or eight bars are devoted to setting forwards and backwards, turning from and towards your partner, making a slight hop at the commencement of each set, and holding your partner's left hand; you then perform the same step (forwards) all round the room.

_Second Figure._ The gentleman faces his partner, and does the same step backwards all round the room, the lady following with the opposite foot, and doing the step forwards.

_Third Figure._ The same as the second figure, only reversed, the lady stepping backwards, and the gentleman forwards, always going the same way round the room.

_Fourth Figure._ The same step as figures two and three, but turning as in a waltz.

[MAN'S HEART BEATS 92,160 TIMES IN A DAY.]

154. The Gorlitza

is similar to the polka, the figures being waltzed through.

155. The Schottische.