In our fathers’ time we read:
I wore my blue coat and brass8 buttons, very high in the neck, short in the waist and sleeves, nankeen trousers and white silk stockings, and a white waistcoat. I performed all the steps accurately9 and with great agility10.
Which, it appears, gained the attention of the company. And it well might, for the year was 1830, and the mode of performing the cotillion of the period was undergoing the metamorphosis of which the perfect development has been familiar to ourselves. In its next stage the male celebrant is represented to us as “hopping11 about with a face expressive12 of intense solemnity, dancing as if a quadrille”— mark the newer word —“were not a thing to be laughed at, but a severe trial to the feelings.” There is a smack13 of ancient history about this, too; it lurks14 in the word “hopping.” In the perfected development of this dance as known to ourselves, no stress of caricature would describe the movement as a hopping. But our grandfather not only hopped15, he did more. He sprang from the floor and quivered. In midair he crossed his feet twice and even three times, before alighting. And our budding grandmother beheld16, and experienced flutterings of the bosom17 at his manly18 achievements. Some memory of these feats survived in the performances of the male ballet-dancers — a breed now happily extinct. A fine old lady — she lives, aged19 eighty-two — showed me once the exercise of “setting to your partner,” performed in her youth; and truly it was right marvelous. She literally20 bounced hither and thither21, effecting a twisting in and out of the feet, a patting and a flickering22 of the toes incredibly intricate. For the celebration of these rites23 her partner would array himself in morocco pumps with cunningly contrived24 buckles25 of silver, silk stockings, salmon-colored silk breeches tied with abundance of riband, exuberant26 frills, or “chitterlings,” which puffed27 out at the neck and bosom not unlike the wattles of a he-turkey; and under his arms — as the fowl28 roasted might have carried its gizzard — our grandfather pressed the flattened29 simulacrum of a cocked hat. At this interval30 of time charity requires us to drop over the lady’s own costume a veil that, tried by our canons of propriety31, it sadly needed. She was young and thoughtless, the good grandmother; she was conscious of the possession of charms and concealed32 them not.
To the setting of these costumes, manners and practices, there was imported from Germany a dance called Waltz, which as I conceive, was the first of our “round” dances. It was welcomed by most persons who could dance, and by some superior souls who could not. Among the latter, the late Lord Byron — whose participation33 in the dance was barred by an unhappy physical disability — addressed the new-comer in characteristic verse. Some of the lines in this ingenious nobleman’s apostrophe are not altogether intelligible34, when applied35 to any dance that we know by the name of waltz. For example:
Pleased round the chalky floor, how well they trip,
One hand* reposing36 on the royal hip37,
The other to the shoulder no less royal
Ascending38 with affection truly loyal.
* I.e. one of the lady’s hands.
These lines imply an attitude unknown to contemporary waltzers, but the description involves no poetic39 license40. Our dear grandmothers (giddy, giddy girls!) did their waltz that way. Let me quote:
The lady takes the gentleman round the neck with one arm, resting against his shoulder. During the motion, the dancers are continually changing their relative situations: now the gentleman brings his arm about the lady’s neck, and the lady takes him round the waist.
At another point, the lady may “lean gently on his shoulder,” their arms (as it appears) “entwining.” This description is by an eyewitness41, whose observation is taken, not at the rather debauched court of the Prince Regent, but at the simple republican assemblies of New York. The observer is the gentle Irving, writing in 1807. Occasional noteworthy experiences they must have had — those modest, blooming grandmothers — for, it is to be borne in mind, tipsiness was rather usual with dancing gentlemen in the fine old days of Port and Madeira; and the blithe42, white-armed grandmothers themselves did sip43 their punch, to a man. However, we may forbear criticism. We, at least, owe nothing but reverent44 gratitude45 to a generation from which we derive46 life, waltzing and the memory of Madeira. Even when read, as it needs should be read, in the light of that prose description of the dance to which it was addressed, Lord Byron’s welcome to the waltz will be recognized as one more illustration of a set of hoary47 and moss-grown truths.
As parlor-soldiers, graced with fancy-scars,
Rehearse their bravery in imagined wars;
As paupers48, gathered in congenial flocks,
Babble49 of banks, insurances, and stocks;
As each if oft’nest eloquent50 of what
He hates or covets51, but possesses not;
As cowards talk of pluck; misers52 of waste;
Scoundrels of honor; country clowns of taste;
Ladies of logic53; devotees of sin;
Topers of water; temperance men of gin —
my lord Byron sang of waltzing. Let us forgive and — remembering his poor foot — pity him. Yet the opinions of famous persons possess an interest that is akin54, in the minds of many plain folk, to weight. Let us, then, incline an ear to another: “Laura was fond of waltzing, as every brisk and innocent young girl should be,” wrote he than who none has written more nobly in our time — he who “could appreciate good women and describe them; and draw them more truly than any novelist in the language, except Miss Austen.” The same sentiment with reference to dancing appears in many places in his immortal55 pages. In his younger days as attaché of legation in Germany, Mr. Thackeray became a practiced waltzer. As a censor56 he thus possesses over Lord Byron whatever advantage may accrue57 from knowledge of the subject whereof he wrote.
We are happily not called upon to institute a comparison of character between the two distinguished58 moralists, though the same, drawn59 masterly, might not be devoid60 of entertainment and instruction. But two or three other points of distinction should be kept in mind as having sensible relation to the question of competency to bear witness. Byron wrote of the women of a corrupted61 court; Thackeray of the women of that society indicated by the phrase “Persons whom one meets”— and meets now. Byron wrote of an obsolete62 dance, described by Irving in terms of decided63 strength; Thackeray wrote of our own waltz. In turning off his brilliant and witty64 verses it is unlikely that any care as to their truthfulness65 disturbed the glassy copiousness66 of the Byronic utterance67; this child of nature did never consider too curiously68 of justice, moderation and such inventions of the schools. The key-note of all the other wrote is given by his faithful pen when it avers69 that it never “signed the page that registered a lie.” Byron was a “gentleman of wit and pleasure about town”; Thackeray the father of daughters. However, all this is perhaps little to the purpose. We owe no trifling70 debt to Lord Byron for his sparkling and spirited lines, and by no good dancer would they be “willingly let die.” Poetry, music, dancing — they are one art. The muses71 are sisters, yet they do not quarrel. Of a truth, even as was Laura, so every brisk and innocent young girl should be. And it is safe to predict that she will be. If she would enjoy the advantage of belonging to Our Set she must be.
As a rule, the ideas of the folk who cherish a prejudice against dancing are crude rather than unclean — the outcome much more of ignorance than salacity. Of course there are exceptions. In my great work on The Prude all will be attended to with due discrimination in apportionment of censure72. At present the spirit of the dance makes merry with my pen, for from yonder “stately pleasure-dome” (decreed by one Kubla Khan, formerly73 of The Big Bonanza74 Mining Company) the strains of the Blue Danube float out upon the night. Avaunt, miscreants75! lest we chase ye with flying feet and do our little dance upon your unwholesome carcasses. Already the toes of our partners begin to twiddle beneath their petticoats. Come, then, Stoopid — can’t you move? No! — they change it to a galop — and eke76 the good old Sturm. Firm and steady, now, fair partner mine, whiles we run that gobemouche down and trample77 him miserably78. There: light and softly again — the servants will remove the remains79.
And hark! that witching strain once more:
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1 behold | |
v.看,注视,看到 | |
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2 memorable | |
adj.值得回忆的,难忘的,特别的,显著的 | |
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3 revered | |
v.崇敬,尊崇,敬畏( revere的过去式和过去分词 ) | |
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4 deft | |
adj.灵巧的,熟练的(a deft hand 能手) | |
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5 exultation | |
n.狂喜,得意 | |
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6 tune | |
n.调子;和谐,协调;v.调音,调节,调整 | |
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7 feats | |
功绩,伟业,技艺( feat的名词复数 ) | |
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8 brass | |
n.黄铜;黄铜器,铜管乐器 | |
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9 accurately | |
adv.准确地,精确地 | |
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10 agility | |
n.敏捷,活泼 | |
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11 hopping | |
n. 跳跃 动词hop的现在分词形式 | |
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12 expressive | |
adj.表现的,表达…的,富于表情的 | |
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13 smack | |
vt.拍,打,掴;咂嘴;vi.含有…意味;n.拍 | |
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14 lurks | |
n.潜在,潜伏;(lurk的复数形式)vi.潜伏,埋伏(lurk的第三人称单数形式) | |
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15 hopped | |
跳上[下]( hop的过去式和过去分词 ); 单足蹦跳; 齐足(或双足)跳行; 摘葎草花 | |
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16 beheld | |
v.看,注视( behold的过去式和过去分词 );瞧;看呀;(叙述中用于引出某人意外的出现)哎哟 | |
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17 bosom | |
n.胸,胸部;胸怀;内心;adj.亲密的 | |
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18 manly | |
adj.有男子气概的;adv.男子般地,果断地 | |
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19 aged | |
adj.年老的,陈年的 | |
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20 literally | |
adv.照字面意义,逐字地;确实 | |
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21 thither | |
adv.向那里;adj.在那边的,对岸的 | |
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22 flickering | |
adj.闪烁的,摇曳的,一闪一闪的 | |
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23 rites | |
仪式,典礼( rite的名词复数 ) | |
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24 contrived | |
adj.不自然的,做作的;虚构的 | |
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25 buckles | |
搭扣,扣环( buckle的名词复数 ) | |
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26 exuberant | |
adj.充满活力的;(植物)繁茂的 | |
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27 puffed | |
adj.疏松的v.使喷出( puff的过去式和过去分词 );喷着汽(或烟)移动;吹嘘;吹捧 | |
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28 fowl | |
n.家禽,鸡,禽肉 | |
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29 flattened | |
[医](水)平扁的,弄平的 | |
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30 interval | |
n.间隔,间距;幕间休息,中场休息 | |
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31 propriety | |
n.正当行为;正当;适当 | |
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32 concealed | |
a.隐藏的,隐蔽的 | |
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33 participation | |
n.参与,参加,分享 | |
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34 intelligible | |
adj.可理解的,明白易懂的,清楚的 | |
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35 applied | |
adj.应用的;v.应用,适用 | |
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36 reposing | |
v.将(手臂等)靠在某人(某物)上( repose的现在分词 ) | |
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37 hip | |
n.臀部,髋;屋脊 | |
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38 ascending | |
adj.上升的,向上的 | |
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39 poetic | |
adj.富有诗意的,有诗人气质的,善于抒情的 | |
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40 license | |
n.执照,许可证,特许;v.许可,特许 | |
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41 eyewitness | |
n.目击者,见证人 | |
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42 blithe | |
adj.快乐的,无忧无虑的 | |
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43 sip | |
v.小口地喝,抿,呷;n.一小口的量 | |
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44 reverent | |
adj.恭敬的,虔诚的 | |
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45 gratitude | |
adj.感激,感谢 | |
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46 derive | |
v.取得;导出;引申;来自;源自;出自 | |
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47 hoary | |
adj.古老的;鬓发斑白的 | |
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48 paupers | |
n.穷人( pauper的名词复数 );贫民;贫穷 | |
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49 babble | |
v.含糊不清地说,胡言乱语地说,儿语 | |
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50 eloquent | |
adj.雄辩的,口才流利的;明白显示出的 | |
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51 covets | |
v.贪求,觊觎( covet的第三人称单数 ) | |
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52 misers | |
守财奴,吝啬鬼( miser的名词复数 ) | |
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53 logic | |
n.逻辑(学);逻辑性 | |
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54 akin | |
adj.同族的,类似的 | |
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55 immortal | |
adj.不朽的;永生的,不死的;神的 | |
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56 censor | |
n./vt.审查,审查员;删改 | |
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57 accrue | |
v.(利息等)增大,增多 | |
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58 distinguished | |
adj.卓越的,杰出的,著名的 | |
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59 drawn | |
v.拖,拉,拔出;adj.憔悴的,紧张的 | |
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60 devoid | |
adj.全无的,缺乏的 | |
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61 corrupted | |
(使)败坏( corrupt的过去式和过去分词 ); (使)腐化; 引起(计算机文件等的)错误; 破坏 | |
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62 obsolete | |
adj.已废弃的,过时的 | |
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63 decided | |
adj.决定了的,坚决的;明显的,明确的 | |
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64 witty | |
adj.机智的,风趣的 | |
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65 truthfulness | |
n. 符合实际 | |
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66 copiousness | |
n.丰裕,旺盛 | |
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67 utterance | |
n.用言语表达,话语,言语 | |
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68 curiously | |
adv.有求知欲地;好问地;奇特地 | |
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69 avers | |
v.断言( aver的第三人称单数 );证实;证明…属实;作为事实提出 | |
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70 trifling | |
adj.微不足道的;没什么价值的 | |
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71 muses | |
v.沉思,冥想( muse的第三人称单数 );沉思自语说(某事) | |
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72 censure | |
v./n.责备;非难;责难 | |
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73 formerly | |
adv.从前,以前 | |
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74 bonanza | |
n.富矿带,幸运,带来好运的事 | |
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75 miscreants | |
n.恶棍,歹徒( miscreant的名词复数 ) | |
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76 eke | |
v.勉强度日,节约使用 | |
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77 trample | |
vt.踩,践踏;无视,伤害,侵犯 | |
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78 miserably | |
adv.痛苦地;悲惨地;糟糕地;极度地 | |
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79 remains | |
n.剩余物,残留物;遗体,遗迹 | |
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