An account of the country-dance, with the names of some of the old dance-tunes, has been given above. The word is not, as has been supposed, an adaptation of the French contre-danse, neither is the dance itself French in origin. According to the New English Dictionary, contre-danse is a corruption of “country-dance,” possibly due to a peculiar feature of many of such dances, like Sir Roger de Coverley, where the partners are drawn up in lines opposite to each other. The earliest appearance of the French word is in its application to English dances, which are contrasted with the French; thus in the Memoirs of Grammont, Hamilton says: “On quitta les danses françaises pour se mettre aux contre-danses.” The English “country-dances” were introduced into France in the early part of the 18th century and became popular; later French modifications were brought back to England under the French form of the name, and this, no doubt, caused the long-accepted but confused derivation.
The Lancers were invented by Laborde in Paris in 1836. They were brought over to England in 1850, and were made fashionable by Madame Sacré at her classes in Hanover Square Rooms. The first four ladies to dance the lancers in England were Lady Georgina Lygon, Lady Jane Fielding, Mdlle. Olga de Lechner and Miss Berkeley.
The Polka, the chief of the Bohemian national dances, was adopted by Society in 1835 at Prague. Josef Neruda had seen a peasant girl dancing and singing the polka, and had noted down the tune and the steps. From Prague it readily spread to Vienna, and was introduced to Paris by Cellarius, a dancing-master, who gave it at the Odéon in 1840. It took the public by storm, and spread like an infection through England and America. Everything was named after the polka, from public-houses to articles of dress. Mr Punch exerted his wit on the subject weekly, and even The Times complained that its French correspondence was interrupted, since the polka had taken the place of politics in Paris. The true polka has three slightly jumping steps, danced on the first three beats of a four-quaver bar, the last beat of which is employed as a rest while the toe of the unemployed foot is drawn up against the heel of the other.
The Galop is strictly speaking a Hungarian dance, which became popular in Paris in 1830. But some kind of a dance corresponding to the galop was always indulged in after Voltes and Contre-danses, as a relief from their grave and constrained measures.
The Washington Post and several varieties of Barn-dance are of American origin, and became fashionable towards the end of the 19th century.
The Polka-Mazurka is extremely popular in Vienna and Budapest, and is a favourite theme with Hungarian composers. The six movements of this dance occupy two bars of 3-4 time, and consist of a mazurka step joined to the polka. It is of Polish origin.
The Polonaise and Mazurka are both Polish dances, and are still fashionable in Russia and Poland. Every State ball in Russia is opened with the ceremonious Polonaise.
The Schottische, a kind of modified polka, was “created” by Markowski, who was the proprietor of a famous dancing academy in 1850. The Highland Schottische is a fling. The Fling and Reel are Celtic dances, and form the national dances of Scotland and Denmark. They are complicated measures of a studied and classical order, in which free use is made of the arms and of cries and stampings. The Strathspey is a slow and grandiose modification of the Reel.
Sir Roger de Coverley is the only one of the old English social dances which has survived to the present day, and it is frequently danced at the conclusion of the less formal sort of balls. It is a merry and lively game in which all the company take part, men and women facing each other in two long rows. The dancers are constantly changing places in such a way that if the dance is carried to its conclusion everyone will have danced with everyone else. The music was first printed in 1685, and is sometimes written in 2-4 time, sometimes in 6-8 time, and sometimes in 3-9 time.
The Cotillon is a modern development of the French dance of the same name referred to above. It is an extremely elaborate dance, in which a great many toys and accessories are employed; hundreds of figures may be contrived for it, in which presents, toys, lighted tapers, biscuits, air-balloons and hurdles are used.