[Illustration: MORRIS DANCERS, AS DEPICTED IN AN OLD STAINED GLASS WINDOWIN A HOUSE AT BETLEY, STAFFORDSHIRE. ] THE MORRIS BOOK A HISTORY OF MORRIS DANCING WITH A DESCRIPTION OF ELEVEN DANCESAS PERFORMED BY THE MORRIS-MENOF ENGLAND BYCECIL J. SHARP ANDHERBERT C. MACILWAINE IN TWO PARTS. PART I. LONDONNOVELLO AND COMPANY, LTD. 1907. _This Book is issued in connection with"Morris Dance Tunes, " by the same Authors_ (Sets I. And II. , price 2/- each. ) LONDON: NOVELLO AND COMPANY, LTD. TO OUR FRIENDS AND PUPILS The Members of the Espérance Girls' Club, CUMBERLAND MARKET, N. W. PREFACE. Besides other friends, too numerous for individual mention, who havegiven us able and willing help in the writing of this book, we desire totender especial thanks to the following: To the Lady Isabel Margesson, bymeans of whose kind assistance we were enabled to note certain of thedances herein described; to Miss Florence Warren, whose help was simplyinvaluable; and to the Rev. S. Baring Gould, for permission to reproducein our text the old woodcut of the historic Kemp, who danced the Morrissteps all the way from London to Norwich. CONTENTS INTRODUCTIONHISTORICAL BibliographyMORRIS DANCE TUNES Notes on Morris TunesTHE DANCE The Morris Step Diagrams of Morris Steps (explaining Notation-marks) Positions, and Change of Position (Diagrams) Evolutions Down-and-Back; and Up-and-Back The Chain (Diagrams) Cross-over (Diagrams) Back-to-Back (Diagrams) Go-and-come The Ring Steps in Foregoing Evolutions The Jump (explaining Notation-marks, &c. ) The Hands (movements described) The Call Length of Dances (how to shorten or extend)SPECIAL INSTRUCTIONS FOR VARIOUS DANCES:-- BEAN-SETTING To Form Ring (Diagrams) Dibbing COUNTRY GARDENS Notation of Hand-striking CONSTANT BILLY Diagram of Stick-tappingRIGS O'MARLOW Diagrams of Stick-tapping BLUFF KING HAL Description of step, and manner of dancing HOW D'YE DO? Description, and note on singing SHEPHERD'S HEY Instructions for Stick-tapping and Diagram of Hand-clapping On holding sticksNOTATION (Detailed instructions for all the Dances described):-- BEAN-SETTING (Stick Dance) LAUDNUM BUNCHES (Corner Dance) COUNTRY GARDENS (Handkerchief Dance) CONSTANT BILLY (Stick Dance) TRUNKLES (Corner Dance) RIGS O'MARLOW (Stick Dance) BLUFF KING HAL (Handkerchief Dance) HOW D'YE DO? (Corner Dance) SHEPHERD'S HEY (Stick or Handkerchief Dance) BLUE-EYED STRANGER (Handkerchief Dance) MORRIS OFF INTRODUCTION. We have been drawn to the publication of tunes and description of the oldEnglish Morris, not primarily for the information of the archæologist andscholar, but to help those who may be disposed to restore a vigorous andnative custom to its lapsed pre-eminence. Whether we have erred in believing that there exists to-day a wide andkeen desire for that restoration will be plainly shown in the receptionand the result of our endeavour. How we ourselves came by the belief inthat desire is easily told. The idea that the Morris dance might once again be known amongst us, intown and countryside, as the ordered expression of a national spirit, wasgiven to us in this wise. One of us--it is not by now too much toclaim--had acquired an enthusiasm for Folk-music, and a certain knack offinding it where it still survived in the agèd memories of the peasantry, and of transcribing and preserving it when found. The other had also hisknack of passing on the music that pleased him to susceptible and willingjuniors, and of making them to perform the same. In a happy hour thecollector with his treasury and the teacher, pining for some fresher andsincerer melodies, met together. The "Folk Songs from Somerset" weregiven to those working girls of London town to whom this book isdedicated. From the very start we were aware that the old songs, merry ormournful, that until then had been looked upon by this newer generationfor the greater part with something of an antiquarian and merely curiouseye, had been given wings and a new vitality. The songs of peasant-folklong dead, songs of love and war, parting and death, prospered and spreadin the London streets and workrooms like the news of victory. We werevery well used to find in these singers apt and willing learners; we werealso used to note that whatsoever we had found to teach them hitherto, passed, when the performance was done, into forgetfulness: we weretotally unused to find this fertility and resonance follow, as itfollowed upon the teaching of the Folk-songs. It was like a sowing and afull harvest in a place where, until now, we had tilled all butunavailingly. Forbye Folk-songs, the collector had noted, some seven years before, aset of Morris tunes from Kimber, leader of the Headington (Oxon) men;these had lain until now unused. Seeing the Folk-music fall upon suchgood ground and flourish so amazingly, even amongst these quick-wittedLondoners, strangers to the countryside, it naturally suggested itself tohim that here was the opportunity, so long desired, to wake the Morrisfrom its long sleep. Anybody not deaf and blind, or unobservant as astone, knows that the genius of dancing is born in the London girl of thepeople, as surely as in children of the sun. We had Kimber and his cousin up to town; and the result of their comingfar outran our fondest anticipations. The Morris, like that magicbeanstalk, seemed to outwit the laws of nature: we saw it in the heart ofLondon rise up from its long sleep before our very eyes. In connectionwith this affair, the mention of that well-beloved fable is appropriateand irresistible. The first dance that was set before theseLondoners--upon this occasion which we enthusiasts make bold to callhistoric--was Bean-setting. It represents the setting of the seed inspringtime. Of course the music, its lilt and the steps that theirforefathers had footed to it in the olden time, were as little known tothese, the London born, as the tongue and ceremonial of old Peru. Aslittle known, yet not strange at all; it was a summons never heard untilnow, yet instantly obeyed; because, though unfamiliar and unforeseen, itwas of England and came, even though it was centuries upon the way, tokinsfolk. Let the precisian explain it as he may, that is our way ofaccounting for an experience both fruitful and astounding. Within half anhour of the coming of these Morris-men we saw the Bean-setting--itsthumping and clashing of staves, its intricate figures and steps hithertounknown--full swing upon a London floor. And upon the delighted butsomewhat dazed confession of the instructor, we saw it perfect inexecution to the least particular. Perfect, yet in a different order ofperfection from that attainable by men. It may be noted here and now byall who have to do with the instruction of girls in the Morris, that thefeminine temperament inevitably robs the dance of something of itssturdiness. It is nothing to lament; for what is lost in vigour isassuredly more than made good in gracefulness. At any rate, there wasBean-setting, perfect in its kind. No wonder Jack-and-the-Beanstalk cameto mind and stayed there with the memory of this evening. It was even so with all the other dances: to see them shown was to seethem learned. And the Folk-songs had prepared us for what followed: herewas no mere fugitive delight and curiosity, as of a child with a new toy. We had given back to these children of the city no less than a birthrightlong mislaid. The Morris-men came in October. In the following February, 1906, thesongs and dances were performed before a company of friends. Theaudience, if very friendly, was also very critical; and there wasrepresented in it, literally, every element in contemporary society. Andevery element, or representatives of each, exhorted us to give ourperformance in public, since it was so good that the world in generalmust know of it. In April, 1906, we did so. The performance was given very nearly in theheight of the concert season; in no announcement of it was any mentionmade of charity, or any lack or need of funds: the entertainment was runas a public affair. And the public responded so that we filled the hallto the doors and were reluctantly constrained to refuse admittance to ahost beside. The entertainment has since then been repeated severaltimes; and every repetition brought substantial evidence of continuallyincreasing public interest. It should be mentioned here that Miss Mary Neal, of the Espérance WorkingGirls' Club, not only made the venture possible in the beginning, but, with her powers of help and organization, gave it a reach and strengththat neither of us could have given. But outside appreciation did not end here--one might really say that itonly began. Inquiries poured in from every quarter of the Kingdom, fromevery class and kind of person. They all wanted to know how they alsomight be shown the way to do as we had done--revive these traditionalEnglish songs and dances in their neighbourhood, amongst the risinggeneration of English men and women. One of the inquiries, as to how theMorris dances might be imported there, came from Japan, where all thingstypically English are in so great request. [Illustration: FROM THE FRONTISPIECE OF "KEMP'S NINE DAIES WONDER, PERFORMED ON A JOURNEY FROM LONDON TO NORWICH. "] In the case of the Folk-songs, it was easy enough to instruct the anxiousinquirer. But as to the Morris dances it was otherwise. Here there wereno handbooks to recommend, for the sufficient reason that not oneexisted. With ourselves, and with the few--Alas! very few--traditionalMorris-men left in England, there reposed the only practical knowledge ofthe dances in existence. With all the goodwill in the world we could onlygive them to others as the Morris-men gave them to us--by example, sincein the shape of printed precept there was nothing. So far as possiblethis demand for tuition of the dances has been, and is being, met. Someof the girls already mentioned are teaching or have taught the dances inmany London centres and here and there in eight counties at least, including Monmouth and Derby, Devon and Norfolk, and the HomeCounties. But the demand is great and growing, the supply is obviouslylimited. In London alone it might be met, or nearly so; but in theprovinces, with existing or possible resources, it cannot be, even if wecould command the services of the spirited, historic Kemp, who danced theMorris all the way from London to Norwich--_see_ plate opposite. Thisindefatigable traveller, incidentally, is somewhat curiously figurativeof this latter-day revival of the Morris--of its restoration by townsfolkto dwellers in the country. Thus we were faced with a sudden demand and very limited means wherewithto meet it. In these circumstances we naturally bethought ourselves ofpossible expedients. To us it seemed practicable to meet it only in oneway--through the writing of a book on Morris dancing, by the help ofwhich even those who had never seen the dances performed might be enabledto learn them, and so pass them on. The result of our endeavours mustdeclare itself in the efforts of others to make use of this littlehandbook. That there is a demand for it is very sure: whether we havesucceeded in putting together an intelligible and a workable manual ofdances--notoriously a very hard thing to do--will be told presently inthe tally of practising Morris-dancers in England--and Japan. We haveaimed at simplicity, brevity and clearness in the description. As to the extent of the demand and its constant tendency to increase, sofar, there can be no doubt. As to the permanence of the demand, as towhether the Morris dance is likely to become again, as once it was, afeature of our national life, one can only surmise. For ourselves, webelieve absolutely in the permanence of this revival, and that theseastounding results of our efforts hitherto are evidence, not of afleeting phase or vogue but of no less than that we have restored to ourown people a rightful inheritance, a means and method of self-expressionin movement, native and sincere, such as is offered by no other form ofdancing known to us. The outstanding feature of all our English institutions is theircontinuity: to have continuity you must have age and a hallowedtradition: these we have in everything national, save only in our songsand dances. These, although we are anything but an imitative race, wehave imported from un-English lands, with the inevitable result that indance and music we express everybody but ourselves. We shall go on doingso until the treasure-house of our Folk-music and dances--now for severalgenerations mysteriously closed to us--shall be re-opened. In thishandbook we have tried to do something towards restoring that forsakenrepository to its rightful pre-eminence. HISTORICAL. We claim for this sketch no completeness: we are chiefly concerned withthe Morris as a lapsed yet living art, calling, as we hold, for revival;we look to the Morris-men, not primarily as subject-matter for theindustrious archæologist, but as heralds to the sweetening of the townlife of England and the re-peopling of her forsaken countryside. We havenevertheless taken some trouble in our search for all that is interestingand genuine as concerns the Morris, in the literature of our own country, and others. For the benefit of those inclined to follow the subjectfarther in its historical aspect than it is herein treated, we haveappended a list of books in which we have found items of interest. So far as we can discover, there is no single work devoted to the topic:all that is to be gleaned of it from books consists only in scraps ofinformation, most of them very brief, some contradictory; as a rulealmost casually introduced in works upon dancing, ancient games andcustoms, and such like. Even the origin of the name Morris and the true source of the dance arenot to be traced with absolute certainty. Most authorities accept, orassert, that the dance is Moorish in origin: some again bring evidence toshow that the English Morris (or Morrice) owed nothing whatever to theMoors. Still, the weight of testimony must be held to show Morocco as thefount and origin, no matter if the genius of our own folk--so very farremoved from anything native to Africa--has, in the process of thecenturies, altered it until it bears, in spirit, little resemblance tothe parent stock. If the spirit has been Anglicised, the steps remain. Tabourot, forinstance, a very quaint and interesting writer on dancing, tells us thatwhen he was a youth--that would be early in the 16th century--it was thecustom in good society for a boy to come into the hall after supper withhis face blackened, his forehead bound with white or yellow taffeta, andbells tied to his legs. He then proceeded to dance the Morisco the lengthof the hall, forth and back, to the great amusement of the company. Sosays Tabourot, long dead; and to-day we learn that, in most winters, aside of Morris-men dances at White Ladies Aston, one-and-a-half mile fromSpetchley, Worcester. They blacken their faces and have for musicaccordion, triangle, and tambourine: their flute-player died recently. Tabourot suggests that the bells might have been borrowed from the_crotali_ of the ancients in the Pyrrhic dance. He then describes themore modern Morris dance, which was performed by striking the ground withthe fore part of the feet; but as this proved fatiguing the work wasgiven to the heels, the toes being kept firm, whereby the bells jingledmore effectively. He adds that this method in turn was modified, as ittended to bring on gouty complaints. We are given by the same writer a notation of the Morisco, or Morisque, music, steps, and description: this shows as nearly as possible the stepsof the Morris as we have seen it danced in England to-day. Again, Engel, in a passage to us of extraordinary interest, gives inmodern notation "... One of the tunes headed La Morisque, probably theoldest tune of the famous Morris dance still extant. As it is interestingfrom having been printed in the year 1550, when most likely it wasalready an old tune, it shall be inserted here .... " And there we foundthe same tune which Tabourot gives for the dance that he described, as wehave already told. It is the tune of "Morris Off, " which we reproduce inour books of tunes. Just a few weeks earlier we had taken down, atRedditch, from the fiddler of the Bidford Morris-men, the same tune, note for note, as Tabourot gives it. Here in truth is a signal instanceof that persistence and continuity which is always cropping up, to thelasting amazement and delight of the student of Folk-music--to thedelight more especially of the student who, like ourselves, holds that inour Folk-music is a treasury not to be hoarded for the delectation of thescholar, but to be expended with both hands for the revivifying of anational spirit. The Morris, then--once also the Moresc--of England; La Morisque andMorisco of France; the Moresca of Corsica, danced by armed men torepresent a conflict between Moors and Christians--is in all reasonableprobability Moorish in origin: never mind if in our own country it isbecome as English as fisticuffs, as the dance called "How d'ye do" willshow--wherein our own folk, after their own manner, have suggestedstrife, as in the Corsican variety. Holland, as is told by Engel, wasinfected too; industrious research, in fact, will probably show that theMorris in some shape or other was known throughout Europe, and beyond. Asfor the date of its introduction into England that is impossible to statewith certainty; but most authorities point to the time of Edward III. , maybe when John of Gaunt returned from Spain, as probably the earliestwhen Morris-men were seen in England. It is said also that we had it fromthe French; another lays its introduction to the credit of the Flemings. The window with its Morris-men shown in our frontispiece is probably ofthe time of Edward IV. Schemes of wider research, however, we are content to leave in the handsof the intrepid Folk-lorist. We are concerned here to extract from a massof notes and references some outstanding few, to remind practising andpotential Morris-dancers of to-day that this new-old art, if notindigenous, has been, like many another foreign importation, assimilatedmuch to our advantage. The Morisco, from which our own Morris has obviously descended, seems tohave been originally both a solo and square dance, the latter beingperformed by sides (that is, sets) of six. The solo Morris existed allalong, and still exists. When we saw our friend Kimber (mentionedelsewhere) dance his Morris jig to the tune of "Rodney, " had our otherold friend Tabourot been present in the spirit--maybe he was--he needhave altered nothing in the description we have quoted but to substitutefor the boy with his face blackened a sturdy English yeoman, and to notesome differences in the get-up of the dancer. The solo dance has beenperformed also at Bampton, between tobacco-pipes laid crosswise on theground--to the tune of the "Bacca Pipes" jig, or "GreenSleeves"--suggesting the Scottish sword-dance, and in many otherfashions. Another feature in the history of the English Morris, which by this timemay be called impossible to account for with any exactitude, is that inthe elder days the Mummers and their plays, the Robin Hood games andother ancient diversions with their characters and customs, becameallied--or rather mixed up--with the Morris-men, upon May-day andoccasions of festivity such as the Leet-ales, Lamb-ales, Bride-ales, &c. To what extent they were allied, or mixed, will probably baffle even thecombined powers of all our archæologists to discover. In an old woodcut, for instance, preserved on the title of a penny history (Adam Bell, &c. )printed at Newcastle in 1772, is apparently the representation of aMorris dance, consisting of--A Bishop (or friar), Robin Hood, the Potteror Beggar, Little John, Friar Tuck, Maid Marian. Robin Hood and LittleJohn carry bows of length befitting the size of each. The window, too, shown in the frontispiece is proof that the Morris-dancers were attendedby other characters. The following, from Ben Jonson's "The MetamorphosedGipsies, " supplies further evidence to the same effect:-- They should be a Morris dancers by their jingle, but they have no napkins. No, nor a hobby horse. Oh, he's often forgotten, that's no rule; but there is no Maid Marian nor friar amongst them, which is the surer mark. Nor a fool that I see. But other characters, introduced for whatsoever reason, graduallydisappeared, until the Morris company, as a general thing, consisted onlyof the dancers, the piper--that is, the musician--and the fool. The hobby-horse, described later, was habitually associated with theMorris, until the Puritans, by their preachings and invective, succeededin banishing it as an impious and pagan superstition. This accounts forthe expression, "The hobby-horse quite forgotten"; and gives a touch ofprophecy to Shakespeare's lament: "For, O, for, O, the hobby-horse isforgot. " As is well known, however, the hobby-horse still prances inEngland to-day; at Minehead and Padstow, for instance, as an ancient andhallowed institution on its own account, and performing with theMorris-men at Bidford. Other implements and characters may be found, used by and performing withthe Morris-men, that originally had no connection with the Morris, butwere borrowed from other pastimes. As we have said, however, this setsout to be no exhaustive study, whether of the Morris when it was anational dance, or of all its survivals at the present time. Such a studywould in scope and purpose far outrun the limits of our intention. Broadly speaking, the peculiar characteristics of the Morris, as it wasin its heyday and as it has survived amongst us, are these: Leaving asidethe solo dances, upon which we shall not touch further, the Morris isperformed by six men; the records show that women have occasionally, butrarely, figured as performers. A musician is of course indispensable;also, as it seems, a fool, to supply comic relief and give the dancersbreathing-time. The fool often goes by the name of "Squire, " sometimes of"Rodney. " These are practically invariable; but beyond and beside these, other characters have accompanied the dancers. The hobby-horse we havealready mentioned as a popular addition. Some took with them anassistant, called the ragman, to carry the dancers' extra clothing. Then, a person in various disguises and habiliments went--and still goes--withthe dancers to collect money, if it might be, from admiring lookers-on:sometimes the fool himself served both as the type of unwisdom and itsopposite, who bears the money-box. In some parts of the country a swordbearer accompanied the Morris-men. This officer carried a rich pound-cake impaled upon his sword-point--cakeand sword were be-ribboned, the former being supplied by some local lady;and during the dances slices of it were given amongst the audience whowere expected to respond with coin for the treasury. A slice of cake wasby way of bringing luck to the receiver; the credulous even treasured apiece of it the year round as a minister of good fortune. Generally speaking, these must be regarded as the fixed and regularperformers and accompaniments of the Morris. But, according to time andplace, the additions to and varieties of these were innumerable. When thedance was popular, it may almost be said that every village sporting atroupe had its own peculiar variation in dress or character or otherparticular of its programme and _personnel_, by which it was known; andby these singularities each set of Morris-men and their backers heldresolutely. There was competition, once, amongst the Morris-folk as thereis to-day amongst football teams and their adherents. Many a bout, begunin friendly rivalry, ended in a scrimmage, in which the staves broughtfor use and ornament in the dance were used to break heads with. We aregrown vastly more delicate and refined since then, it is supposed. Before we go on to note some leading features in the dress andparaphernalia of the Morris-men, one more memory of the days that aregone--maybe in some fashion to return, maybe not--tempts to quotation. It is from the church-wardens' accounts of the parish ofKingston-upon-Thames, and in our prejudiced eyes has a dignity, andsomehow a promise, all its own. It is from Lysons' "Environs of London, "vol. I. , 1792, p. 226, and runs:-- For paynting of the mores garments and £ s. D. For sarten gret leveres 0 2 4 For 4 plyts and ½ of lawn for the mores garments 0 2 11 For orseden for the same 0 0 10 For bellys for the dawnsars 0 0 12 For silver paper for the mores dawnsars 0 0 7 Shoes for the mores dawnsars, the frere and mayde Maryan at 7d. The payre 0 5 4 8 yerds of fustyan for the mores dawnsars coats 0 6 0 A dosyn of gold skynnes for the morres 0 0 10 5 hats and 4 porses for the dawnsars 0 0 4½ As a conclusion to this imperfect sketch we would point once more to thewarranty of its imperfections and sketchiness offered in the beginning. We hope for it no more than that it may serve to direct those inclined tobestow upon the Morris a closer study, to at least the beginnings of anenthralling subject. So much for the origin and history of the art. Asfor its living practitioners: of the men, for instance, ofGloucestershire, Norfolk, Lancashire, Northumberland--the last-named ofwhom danced the other day before the King at Alnwick Castle under thename of Guisards--and elsewhere, we offer no precise information. It maybe that one day we shall be privileged to do so. But for the tunes wehave set down, and for the dances belonging thereto we have attempted todescribe, we do claim that in these we have tried most faithfully to passon to others what the Morris-men gave to us. MUSICAL INSTRUMENTS. In earliest days of the Morris, music was made by a simple pipe, by pipeand tabour, or the bagpipe. Of these the bagpipe was apparently theoriginal. An old madrigal, printed in 1660, runs thus: Harke, harke, I hear the dancing And a nimble morris prancing; The bagpipe and the morris bells That they are not farre hence us tells; Come let us goe thither, And dance like friends together. Since the disappearance of the bagpipe, pipe and tabour (called whittleand dub) have been, even within the memory of living men, the acceptedinstruments wherewith to make music and beat time for the Morris. Theyare now fallen into disuse. The pipe or whittle was of wood, really anearly form of the flageolet, over a foot long; sometimes it had a metaltongue in the mouthpiece; two finger-holes and a thumb-hole to vary thenote, and was played with the left hand. From the left thumb the tabour, or dub, was suspended by a loop: the dub was a miniature drum, elaborately made, and was beaten by a stick held in the right hand. Pipeand tabour were sometimes played by separate men. At the present time the music is generally played on a fiddle; thoughhere, again, having no complete knowledge of all the traditional dancersstill left among us, we offer no precise statement as to the instrumentsstill in use. One Morris-man we knew made music on a concertina. _See_plate opp. P. 22. DRESS. In the matter of dress, old-time accounts prove that the Morris-menindulged in considerable variety; and even amongst present-day inheritorsof the tradition there are many differences. Still, certain features maybe regarded as common, and the dress of Mr. Salisbury (plate opp. P. 21), leader of the Bidford men, may be cited as typical. The tall hat, though not universal, is the most popular and general headgear; and thisdancer and his men wore a broad band of plaited ribbons on their hatssome two-and-a-half inches wide, in red, green and white. The elaboratelyfrilled and pleated white shirt is also typical; this was tied at wristand elbow with blue ribbons, the ends left hanging. The breeches were offawn-shaded corduroy, with braces of white webbing; on the braces werepinned, in front and at the back, level with the breast, rosettes of red, white and blue ribbons, the ends left hanging. The tie was of the sameblue ribbon as that in the rosettes, also with the ends long and loose. The boots, as befitted the sturdy work they had to do, were substantial;the stockings of rough grey wool, which showed between the boots andbreeches. [Illustration: MR. SALISBURY, LEADER OF THE BIDFORD MORRIS-MEN (1906). ] [Illustration: THE BIDFORD MORRIS SIDE. (FIDDLER in foreground, to the right; HOBBY-HORSE--left, andFOOL--centre, beyond Dancers. )] In the case of Mr. Kimber, leader of the Headington men (plate opp. P. 22), the dress, it will be noticed, was simpler. A white sweater took theplace of the pleated shirt; ribbons of red, white and blue were crossedupon the chest; the trousers were of white flannel. Some notes on the bells and on the manner of fixing them will be foundunder the heading "Bells. " The fool's dress would seem to be designed to-day, as in the olden time, upon no particular plan, but to follow the fancy of the individualwearer. The Bidford man, whom we saw at his really funny antics, had afox's mask for headgear, the muzzle lying on the man's forehead, thebrush hanging down his back. His face was raddled like a clown's; he hada vest of cowhide, with red sleeves; stockings and breeches much like thedancers', and he wore his bells, not on a shin-pad like them, but in arow all round the boot-top. He carried a bladder on the end of a stick, and with it he freely whacked the hobby-horse man and occasionallymembers of the audience. The hobby-horse man of the same company was dressed like a jockey; and, while the dancers had a rest, he and the fool carried on innumerablecapers, sometimes backing in amongst the audience, occasionallyoverturning a few, and now and then chasing any maid that could bestarted on the run. If this pair be typical of the olden time, we cananswer for it that their fun was uproarious and perfectly wholesome. BELLS. To the wearing of bells, stitched upon thongs and tied to the shin, therewould seem to be no exception amongst the Morris-folk, even from theearliest times. The celebrated Kemp, who danced the Morris all the wayfrom London to Norwich in 1599, and whose picture we reproduce, wore hisbells in the traditional manner. The records show that, even in recent times, both treble and tenor bellswere worn, each carried by the opposite files of dancers. There areaccounts also of bells with four different tones. But nowadays certainlythe rule is that bells all of a kind are worn by all the dancers--lattenbells, if that be still the correct name for the kind of bell to be foundupon the harness that children use when they play at horses. The shin-padthat carries the bells varies to some extent in the details of itsconstruction; the number of bells also varies. Sometimes the verticalstrips and lateral ties of the pad are of ribbon or braid; maybe oftenerof leather. Sometimes the bells are stitched upon the lateral ties, topand bottom; it is more usual, however, to fasten them on theperpendicular strips. The whole bell-pad is some seven inches square, andis worn midway between knee and ankle. Kimber, as will be seen (plateopposite), wears twelve bells on each leg, in three perpendicular rows offour each. HANDKERCHIEFS. Some dancers carry a white handkerchief--the middle finger thrust througha hole in one corner--in all their dances; we have, elsewhere, describedthe dances as we have seen them performed, with and without thehandkerchief. [Illustration: MR. KIMBER, LEADER OF THE HEADINGTON MORRIS-MEN (1906)] STICKS. The stick, or staff, used in some dances, and the manner of using it, aredescribed elsewhere. Sometimes a bunch of ribbons is tied to the butt;sometimes it is left unadorned. OTHER PARAPHERNALIA. As to the fool's properties, he always carries, after the time-honouredfashion of the clown, a bladder swinging on the end of a stick, or ladle;in some parts, even to-day, he is observing custom if he has a cow's tailon the other end: this to be used also to whack the unsuspectinglooker-on. The hobby-horse is, fundamentally, of wicker or some stout fabric stayedwith wood, having a hole from which its rider, or footman, emerges to thewaist, and is slung upon his shoulders in the familiar manner. Thehorse's head and tail, a pair of stockings stuffed and shod--andludicrously disproportionate to the bulk of the horseman; the bit andbridle and caparison, may all be fashioned according to the horseman'shumour. * * * * * "Illustrations of Shakespeare and of ancient manners. " Two vols. London, 1807. Francis Douce. "Glig-Gamena Angel-Deod, or The Sports and Pastimes of the People ofEngland. " London, 1801. Joseph Strutt. "Observations on Popular Antiquities. " Newcastle-upon-Tyne, 1777. JohnBrand. "Orchesographie, et traicte en forme de dialogue, par lequel toutespersonnes peuvent facilement apprendre et practiquer l'honneste exercisedes dances. " Lengres, 1588 (since reprinted and edited by Laure Fonta, Paris, 1888). Thoinot Arbeau (i. E. , Jehan Tabourot). "Shakespeare and his Times. " Two vols. London, 1817. Dr. Nathan Drake. "Robin Hood Ballads. " London, 2nd edition, 1832. Joseph Ritson. "The Environs of London. " Four vols. , 1792-96. Daniel Lysons. "History of Music. " Five vols. , 1776. Reprinted, Novello, Ewer and Co. , 1853, two vols. Sir John Hawkins. "Popular Music of the Olden Time. " Two vols. London, 1855-59. WilliamChappell. "Shakespeare and Music. " London, Dent and Co. , 1896. Edward W. Naylor, M. A. , Mus. Bac. "Kemp's Nine Daies wonder, performed on a journey from London toNorwich. " Edited from original. Privately printed, Edinburgh, 1884. E. Goldsmid. "The Literature of National Music. " London, Novello, Ewer and Co. , 1879. Carl Engel. "The Abbot. " (Note to chap. 14. ) Sir Walter Scott. "The Fair Maid of Perth. " (Note to chap. 20. ) Sir Walter Scott. "Shakespeare. " (Note to Henry IV. , Part I. ) Steevens. "Notes and Queries. " "Dictionary of Music and Musicians. " Four vols. London, Macmillan andCo. , 1879-1899. Edited by Sir George Grove. "The Transactions of the Folk-Lore Society. " Vol. 8, 1897. "A Treatise on the art of dancing. " By Giovanni-Andrea Gallini. London, 1792. "Dancing in all Ages. " London, 1879. Edward Scott. "A Lytell geste of Robin Hode, &c. " Two vols. London, Longmans, 1847. MORRIS DANCE TUNES. There is not much information about Morris tunes to be gathered frombooks. Chappell, for instance, in his "Popular Music of the Olden Time, "I. , pp. 125 and 130, gives but two Morris dance-tunes, "The StainesMorris Tune" and "Trip and Go"; while Mr. Edward Naylor, in the appendixto his "Shakespeare and Music, " only prints the same number--"An EnglishMorris, 1650" (a variant of Chappell's "Staines Morris Tune"), and anItalian Moresca by Claudio Monteverde, 1608. In Grove's "Dictionary ofMusic" (old ed. ), II. , p. 369, three Morris tunes are recorded: Arbeau's"Morris Off, " a Yorkshire melody founded on that of "The LiteraryDustman, " and a Cheshire Morris to words beginning:-- Morris Dance is a very pretty tune, I can dance in my new shoon; In an interesting and most instructive paper on "Morris-dancing inOxfordshire, " read by Mr. Percy Manning before the Folk-Lore Society, andprinted in their "Transactions" for December, 1897, five tunes are given:"Green Garters, " "Constant Billy, " "Willow Tree, " "Maid of the Mill, " and"Bob and Joan. " Mr. Manning also quotes the names only of the followingMorris dances and songs: "Handsome John, " "Highland Mary, " "GreenSleeves, " "Trunk Hose, " "Cockey Brown, " "The Old Road, " "Moll o' theWhad, " "The Cuckoo, " "The Cuckoo's Nest, " "White Jock, " and "Hey Morris. "The first three of these, as well as the tunes previously mentioned, weresung or danced by the men of Bampton; the remainder by the Morris men ofField Assarts. Our own investigations enable us to add very materially to existingknowledge of this branch of the subject. We have noted down betweentwenty and thirty Morris tunes, and have collected the names of severalothers, which no doubt we shall eventually acquire as well. The listgiven below consists almost entirely of tunes which are still in constantuse by Morris-men in Gloucestershire, Worcestershire, Oxfordshire, andDerbyshire. The figures in brackets record the number of times we have collected thesame tune, or variants of it, from different Morris sides. Laudnum Bunches. Bean Setting. Constant Billy (3). Blue-Eyed Stranger. The Rigs o' Marlow (2). Old Mother Oxford. The old Woman tossed up in a blanket (2). Jockie to the Fair. Rodney. How d'ye do? Trunkles (4). Country Gardens. Brighton Camp (The Girl I've left behind me) (2). Shepherd's Hey (3). Bluff King Hal. We won't go home till morning. Princess Royal (2). Heel and Toe. Morris Off. Green Sleeves. Hey Morris. The Cuckoo's Nest. Swag and Boney. The Gallant Hussars. The British Grenadiers. The Vicar of Bray. The Sherborne Jig. Belle Isle's March. Two Derbyshire tunes ("This is it, and That is it. ") It must be remembered that our investigations have up to the present beenconfined within a limited area, and that we have not yet attempted todeal with the northern counties of England. The experience, however, thatwe have already acquired is enough to prove that there are a much largernumber of traditional Morris tunes still to be found in country districtsthan most people would imagine. Unfortunately, many Morris sides havebeen disbanded within the last two or three decades, and our field ofwork is therefore becoming more and more restricted; for it is difficult, and in many cases impossible, to acquire accurate information unless theMorris side is actually in being. We intend, however, to continue ourinquiries without pause, in order that we may collect all the existingtunes and other information upon this most interesting subject before itis too late. We append some notes on the tunes which we are publishing in connectionwith this volume, with the exception of "Bean Setting, " "Trunkles, " and"Laudnum Bunches, " about which we know nothing. NOTES ON MORRIS TUNES. "HOW D'YE DO?" Compare "Blowzabella, my bouncing Doxie, " in d'Urfey's "Pills to purgemelancholy, " I. , p. 190 (Ed. 1719). "RIGS O' MARLOW. " This air is printed in Burke Thumoth's collection of Irish Airs (1720), in Holden's "Old Irish Tunes" (1806), and in "Songs of Ireland, " p. 164(Boosey). T. Crofton Croker quotes the words of the original song in "The PopularSongs of Ireland" (1839), of which the first verse is as follows:-- AIR--"Sandy lent the man his Mull. " Beauing, belling, dancing, drinking, Breaking windows, damning, sinking, Ever raking, never thinking, Live the rakes of Mallow. Mr. Kimber, the leader of the Headington Morris, could only give us thefirst verse of their song, which, however, is quite different from theIrish words:-- When I go to Marlow Fair With the ribbons in my hair, All the boys and girls declare, Here comes the rigs o' Marlow. Mallow is in County Cork and was a fashionable watering-place in theeighteenth century, when it was known as the "Irish Bath. " Croker saysthat the young men of that fashionable water-drinking town wereproverbially called "the rakes of Mallow, " and he adds: "A set of prettypickles they were, if the song descriptive of their mode of life, hererecorded after the most delicate oral testimony, is not very muchover-coloured. " Neither the Oxfordshire nor the Gloucestershire Morris-men, from both ofwhom we recovered this tune, had probably heard of "Mallow"; it wasnatural enough, therefore, to substitute "Marlow, " which, of course, theyknow very well. "COUNTRY GARDENS. " This is the prototype of "The Vicar of Bray, " and Mr. Kidson tells usthat he has it in an old book of airs under the more ancient title. It isalso called "The Country Garden" in Playford's "Dancing Master, " and inChappell's "National English Airs, " Nos. 25 and 26. Chappell gives it in3-4 time, and remarks that it then becomes "a plaintive love dittyinstead of a sturdy and bold air. " "SHEPHERD'S HEY. " This air bears some resemblance to "The Faithful Shepherd" in Thompson's"Complete Collection of Country Dances" (_circa_ 1775), which isreprinted in Mr. Kidson's "Old English Country Dances, " p. 10. "CONSTANT BILLY. " This is a variant of the "Constant Billy" printed in Playford's "DancingMaster" (1726), p. 170, and also in one of Walsh's dancing books. It isalso in Gay's "Beggars' Opera, " where it is set to the words, "Cease yourfunning. " Mr. Kidson tells us that the air is known in old books as "Overhills and lofty mountains" or "Lofty mountains. " The well-known Welsh air "The Ash Grove" is but another version of thesame tune; but whether the Welsh derived the air from England or _viceversa_ is a moot point. The matter is discussed, at some length, inChappell's "Popular Music of the Olden Time, " p. 665, to which the readeris referred. The air that we print is as the Headington Morris-men played it; but wealso recovered a variant of it from the Bidford dancers. The "ConstantBilly" of the Bampton men, already mentioned, is yet another variant, butin the Æolian mode. The words of the first verse of the Headington version were as follows: O Constant Billy, Shall I go with 'ee? O when shall I see My Billy again? The Bampton words were different: O my Billy, my constant Billy, When shall I see my Billy again? When the fishes flies over the mountains Then you will see your Billy again. "BLUE-EYED STRANGER. " Mr. Kidson tells us that this is a variant of "The Mill, Mill, O" in"Orpheus Caledonius, " I. , p. 40 (1725). It has also some points in commonwith "Just as the tide was a-flowing" in "Folk-Songs from Somerset, " II. , No. 37 (and note). "BLUFF KING HAL. " This is a version in the major mode of "The Staines Morris Tune, "published in the first edition of Playford's "Dancing Master, " andreprinted in Chappell's "Popular Music of the Olden Time, " I. , p. 126. How it has come to be christened "Bluff King Hal" we do not know unless, as Mr. Kidson suggests, the Bidford Morris men have taken the name fromsome modern collection of old English dances. "MORRIS OFF. " As has already been stated, this tune, which was given us by the BidfordMorris dancers, is printed in Thoinot Arbeau's "Orchesographie, " p. 94. ADutch version of the same air is included in a collection of dance-tunesby Tielman Susato (Antwerp, 1551); and is reprinted in Carl Engel's"Literature of National Music, " p. 56. See also Grove's "Dictionary ofMusic" (old ed. ) II. , 369. THE DANCE. The Morris Dance is essentially a manifestation of vigour rather than ofgrace. This is probably true of all country dances: it is pre-eminentlytrue of the Morris dance. It is, in spirit, the organized, traditionalexpression of virility, sound health and animal spirits. It smacks ofcudgel-play, of quarter-staff, of wrestling, of honest fisticuffs. Thereis nothing sinuous in it, nothing dreamy; nothing whatever is left to theimagination. It is a formula based upon and arising out of the life ofman, as it is lived by men who hold much speculation upon the mystery ofour whence and whither to be unprofitable; by men of meagre fancy, but ofgreat kindness to the weak: by men who fight their quarrels on the spotwith naked hands, drink together when the fight is done, and forget it, or, if they remember, then the memory is a friendly one. It is the danceof folk who are slow to anger, but of great obstinacy--forthright of actand speech: to watch it in its thumping sturdiness is to hold such thingsas poinards and stilettos, the swordsman with the domino, the man whostabs in the back--as unimaginable things. The Morris dance, in short, is a perfect expression in rhythm andmovement of the English character. THE MORRIS STEP. As we have told already, the Morris dance is a bodily manifestation ofvigour and rude health, and not at all of sinuous grace or dreaminess. This will be obvious at a glance to anyone who watches the traditionalMorris dancer at his evolutions. The first step, therefore, towardsacquiring the true art of the Morris-man is to put away all thought andremembrance of the ballroom manner--really to unlearn, so far aspossible, the lessons of the dancing-master and all his exhortations uponand exhibitions of glide, pirouette, _chassez_; the pointed toe, thegently swaying body, the elegant waving and posturing such as become thefinished performer of round and square dances in the drawing-room. Tosay, put away for a while these methods is to put no slight upon them, orto offer a word of criticism: it is requisite and necessary, even as oneshould advise a change of clothing to somebody about to quit the ballroomfor some rough-and-tumble pastime in the open fields. Firstly, as to the manner of the steps. The Morris-men wear bellsstrapped to their shins; the bells are there that they may ring theirmusic--and a fine wholesome music it is, too: to ring, they must be wellshaken; to be shaken, the leg they are strapped to must be kicked andstamped. Get that principle into your head, and that practice into yourlegs, and you make the first long stride towards acquisition of the artof Morris dancing. Strap a set of bells to your shins, get out upon agrass-plot or the King's highway; never mind elegance or the criticism ofthe emasculate modern: kick and stamp upon the earth in such a manner asto make your bells ring their loudest, and ring all together. You willsee pretty soon that, to do so, you must, when you jump, let the heelscome solidly to earth, immediately following the toes--no man, even anold-time Morris-man, may jump and alight upon his heels alone, with thespine held rigidly above them (_see_ p. 33). You will find also that, instepping it, whether to advance or retire, or to step rhythmically in oneplace, to make your bells ring the true _fortissimo_ you must _kick_, andkick hard. Half an hour's experiment of this kind will do more to instil into thewould-be dancer the spirit that presides at Morris revels than chaptersof exhortation. It is a robust and friendly spirit, and will set thelearner's steps--given that he be of English blood, or even ofAnglo-Saxon sympathy--a-thumping to its solid downrightness. Once possessed of the spirit, the form of the Morris step needs littleexplanation and description, for the steps are few and simple. With aneye upon the foregoing notes and, it is hoped, a personal memory of theexperiment as recommended, the learner will readily grasp the descriptionthat follows here. Roughly, the Morris step is alike throughout all the dances; it variesonly in force, length (i. E. , the length of the stride varies more orless), and height (i. E. , the foot is lifted more or less). The foot, when lifted, is never drawn back, but always thrust forward. The toe is never pointed in line with the leg, but held at a right-angleto it, as in the standing position. The foot, therefore, the forward orstepping foot, is lifted as in walking, as if to step forward, then theleg is vigorously straightened to a kick, so as to make the bells ring. At the same instant that the forward leg is straightened, a hop is madeon the rear foot; the dancer alights upon the toe, but lets the heelfollow immediately and firmly, so that he stands upon the flat foot. Agood snap-shot photograph of one in the act of walking, when the forwardfoot has made about three-fourths of its stride, gives a perfectillustration of the Morris dancer's step. As with the step, so also with the jump, which in so many cases beginsand ends a measure; the dancer jumps, roughly, as high as his own foot, holding when in air legs and body straight, alighting upon the toes, butonly so as to break the shock sufficiently for comfort, then letting theheels come firmly down. In alighting from the jump, the knees are bentjust enough to save the dancer from injurious shock, and are straightenedimmediately. Such are the Morris step and jump; the jump never varies; the step doesvary as to height, length and vigour of stride, as will presently benoted. It must, however, constantly be borne in mind that, high or low, there is always sturdiness in the Morris step; to Morris-men thelanguorous and the lackadaisical are for ever unknown. For the purposes of compiling a notation, we have classified the stepsnecessary to the dances described into two, as follows:-- In the step most commonly used the raised foot is thrust forward only sofar that, when the leg is straightened to the kick, the forward heel isroughly the length of the dancer's foot in advance of the toe of the rearor supporting foot. This step, it must be remembered, will be usedalways, except when specific instructions are given to make it higher orlower. In the high step, used chiefly in the figures called "Capers" (_see_ p. 50), the dancer must, if his activity will allow of it, raise the forwardfoot until its toe is as high as the knee of the rear or supporting leg. It is an exercise not to be attempted all at once in its completeness, because it is one well calculated to send the inexperienced enthusiastsprawling on his back. Its study should be approached gently, by way offamiliarity with the simpler movement, which, once it is mastered, mayeasily be extended to the harder one. The latter must be approached withcaution--that is all. And the novice is to bear constantly in mind that, in the matter of vigour, he simply cannot put too much of it into hisCapers. There will be little trouble about his remembering that, however;the Morris Caper-music will not let him forget it for a moment. This step is called in the Notation--High. It has always to be remembered that in Morris dancing, unless definiteinstructions be given to the contrary, every movement or part of amovement is begun by stepping out with the right foot. DIAGRAMS OF MORRIS STEPS. WITH NOTATION MARKS ADDED. Steps used in 4-time music (whether simple or compound). The letters Rand L signify right or left foot. [Illustration: BEATS 1 2 3 4 STEPS R L R L] This is called in the Notation--4/1. [Illustration: BEATS 1 2 3 4 1 2 3 4 STEPS R R L L R R L L] This is called in the Notation--4/2. [Illustration: BEATS 1 2 3 4 1 2 3 4 STEPS R L R R L R L L] This is called in the Notation--4/3. [Illustration: BEATS 1 2 3 4 1 2 3 4 STEPS R R R R L L L L] This is called in the Notation--4/4. STEPS USED IN 6-TIME (i. E. , COMPOUND 2). WITH NOTATION MARKS ADDED. [Illustration: BEATS 1 2 3 4 5 6 1 2 3 4 5 6 STEPS R L R L] This is called in the Notation--6/1. [Illustration: BEATS 1 2 3 4 5 6 1 2 3 4 5 6 STEPS R R L L R R L L] This is called in the Notation--6/2. [Illustration: BEATS 1 2 3 4 5 6 1 2 3 4 5 6 STEPS R L R R L R L L] This is called in the Notation--6/3. These steps are perfectly simple, and all but one may be learned at aglance, even by one who has no knowledge of music, for such a one hasonly to keep his eye upon the beats, which give the rhythm. The exception--the only one that presents a difficulty at first--is theone marked 4/3 and 6/3, these two being one, since only the time differs;the feet step the same in each. A hint will make this step come as easilyas the rest. Let the beginner in temporary difficulty with it bethinkhimself of the polka-step; sing a stave of the polka, and dance round theroom to it. He will find that his feet are stepping exactly in order ofthe Morris 4/3 and 6/3 step--left, right, left, hop-left; right, left, right, hop-right, and so on. Now, all he has to do in order to adapt thepolka to the Morris four-time step of 4/3 is, firstly to manage his feetas described, then to make the hop at end of each bar of the polka not asit were a dotted note, but in even measure with the other beats: for thelast step of each bar to Morris four-time music is a hop, as in thepolka, but in even time and in the Morris fashion. Now, having adapted the polka step to the Morris 4/3, let the learnersimply count six to the bar and step to it in exactly the same way. Hewill find, given just an average ear for rhythm, that he will soon bedancing thus, counting as he 1 2 3 4 5 6 dances--1, 2, 3, 4, 5, 6--Right--left, Right--right; 1 2 3 4 5 6 Left--right, Left--left. Having mastered these, one last instruction may be given. The 4/3 Morrisstep is occasionally varied, so as to make it exactly like thepolka-step--that is, with the final hop danced like a dotted note; like aquaver, if the music be in common time. This is a variation practisedoccasionally by the Morris men themselves, and the enthusiastic amateurwill find himself dropping into it occasionally, following hisenthusiastic leader. No instructions for this changing of the step willbe given in the Notation, for it cannot be specified. The whole side willfall into it naturally, upon occasion: for instance, where there is along stretch of the step, danced in one position, couples facing, armsswinging and handkerchiefs waving, as in "Blue-eyed Stranger. " This isfairly intoxicating to the dancer, and here the hop will often suggestitself. And again, in hurrying, if one gets left behind a pace, as, forinstance, in the Chain. But to hop, or not to hop, unevenly in the 4/3step, that is a matter that will be easily arranged by the spirit of thedancers and the discretion of their leader. We desire merely to indicatea rule that, upon occasion, may be agreeably infringed. POSITIONS, AND CHANGE OF POSITION. The Morris side, when in position for dancing, stands in, or returns to, the positions as shown hereunder. The only exception to these is theRing, as explained below. POSITION 1 (COLUMN). POSITION 2 (Front). ^ ^ 1 2 1> <2 ^ ^ 3 4 3> <4 ^ ^ 5 6 5> <6 Thus the six stand in two parallel lines of three each. The top, as therule is in dancing, is set towards the music. The angles represent thedancers: the apex of each angle points as the dancer's face is turned;the numbers within the angles will be used throughout in describingmovements of individual dancers. The dancer at the top left-hand corner, No. 1, is _invariably_ the leaderof the side. No figure is completed, and no dance can end, until No. 1has returned to his place at the top left-hand corner. It is the duty and privilege of No. 1 to call loudly and clearly the nameof each figure or part of a figure as each falls due forperformance--"Corners, " "Chain, " "Back-to-back, " and so forth, and toannounce the end of the dance by the call of "All in. " In Position 1, or Column, the dancers stand in two files, and all facethe same way. This is called in the Notation--Column, or Col. In Position 2, or Front, the dancers are turned inward, and face eachother in pairs. This is called in the Notation--Front, or Fr. The change of position, from Column to Front, or _vice versa_, whethermade by jumping or by stepping to measure, is executed invariably thus:-- To change Column to Front the dancers turn inward. Thus, in Position 1, Nos. 1, 3, and 5 make a half-turn to the right; Nos. 2, 4, and 6 make ahalf-turn to the left. To change Front to Column, in Position 2, Nos. 1, 3, and 5 will make ahalf-turn to the left; Nos. 2, 4, and 6 a half-turn to the right. In changing from Column to Front when the column is reversed--that is, the dancers having their backs to the music--the half-turns as givenabove will be reversed also. As for the distance to be maintained between individual dancers, whetherin Column or Front, the files (i. E. , odd and even numbers) should standso far apart that, when arms are extended, the hands of each will overlaphis neighbour's hands. The distance between the files will vary according to the nature of thedance. In the Stick and Handkerchief dances, pairs (Nos. 1 and 2, &c. )stand near enough to clap hands or tap sticks with each other. In theCorner dances, as will readily be seen from the descriptions andNotation, the files must be well apart to give plenty of room for thenecessary movements. The right distance will easily be found; roughly, the side should form a square measuring some twelve feet each way. In the Notation, the term "Partners" is used to denote the pairs as theystand fronting or abreast, Nos. 1 and 2, 3 and 4, 5 and 6. The term "Opposites" is used in referring to couples when they mustchange places, or re-change, as in Corners and Capers, Nos. 1 and 6, 2and 5, 3 and 4. The latter couple, the centres, it will be noticed, willhave both terms applied to them, according as the movement described isCorners or Capers, or another, such as hand-striking. In some dances, as, for instance, in "Bean-setting, " the side forms aring, and many dances end in this formation. Instructions for this, asand where it occurs, will be found in the Notation, and will be markedunder Formation, thus:--Ring. EVOLUTIONS. Here follows a detailed description, with diagrams, of the variousevolutions necessary to the dances which we have embodied in this series;to each evolution a Notation word is attached. The best way for a teacher who has never seen the dances performed, yetwants to teach them from the book, is to study the diagrams and learn byheart the Notation word for each. He should then stand a side upon thefloor, make them go through the evolutions by word of command, orNotation word, slowly, as described; counting the beats, but withoutmusic. This manner of beginning is advised only when the teacher has nothing butthe book for guide: where an experienced dancer is available we havefound it best for the novices to set to at once upon the dance; thepractised one showing steps, evolutions, &c, as they occur. DOWN-AND-BACK; AND UP-AND-BACK. This movement occurs at the beginning of so many dances that to simplifymatters it will be described here, and symbols will be attached to thedescription and used in the Notation. The movement is executed asfollows: The side stands in Column, and starts by advancing for the first twobars, and retiring for the second two bars. Each file advances andretires its own length; that is, Nos. 1 and 2 will move ahead, the othersfollowing, until Nos. 3 and 6 have come to the places of Nos. 1 and 2; inthe next two bars all get back to position. The two bars' advance is made always according to the time of the music, either at 4/3 or 6/3 step: the two bars' retiring is always made at 4/2or 6/2 step (_see_ p. 48). The whole movement is made in eight bars. In one dance, the second fourbars are danced the same way as the first four; but in all the others theColumn is reversed at the end of the first four bars. The two ways ofexecuting the movement will be marked in the Notation as follows: When the side is to advance and retire twice, without reversing at end offourth bar, and is to form Front at the end of bar 8, this will be markedin the Notation, so: MUSIC. | MOVEMENTS. | FORMATION. | |A. | Down-and-back twice, then j. | Col. To Fr. | (Forming Fr. ) | When the side is to advance and retire, reversing position at beginningof fifth bar, and in bars 5 to 8 facing the opposite way, then at end ofbar 8 forming Front, this will be found marked in the Notation, so: MUSIC. | MOVEMENTS. | FORMATION. | |A. | Down-and-back, Ju. | Column. | Up-and-back, j. (forming Fr. ) | Col. To Fr. THE CHAIN. This movement is also completed in eight bars. In the following diagram (Figs. 1, 2, and 3) the movements of the leadingthree, Nos. 1, 3, and 5, are shown separately to avoid confusion. To begin the Chain the side stands in Column (_see_ p. 48). No. 1 turns_outward_, that is, to the left, and goes forward in an S-shaped doublecurve as shown, passing in the middle of the curve the place of No. 3, and finishing in the place of No. 5. No. 3 starts out to rightward, and goes in a circle, in the second halfof which he is following the first half of No. 1's track. No. 5 starts to leftward, making a double curve as No. 1, but opposite, passing in the middle of it the place of No. 3, and finishing in theplace of No. 1. [Illustration: Fig. 1. ] [Illustration: Fig. 2. ] [Illustration: Fig. 3. ] Therefore, No. 8 follows No. 1, and No. 5 follows No. 3 round the trackof an imaginary figure 8, or double circle, for that is the shape of thecompleted movement. Thus: [Illustration: Fig. 4. ] [Illustration: Fig. 5. ] [NOTE. --At middle and completion of Chain, all turn inward, as shown inFig. 5, and face partners as they jump (_see_ p. 48). ] At the end of the second bar, No. 5 should be at No. 3's place, in thecentre of the figure; No. 1 should have already passed it, and No. 3 becoming to it, so that No. 5 passes between Nos. 1 and 3. In second halfof Chain, same positions are to be observed. In the second four bars, for completion of the Chain, the movementsalready described are simply reversed. As No. 1 is always leader (_see_p. 38), and must turn outward and be followed by Nos. 3 and 5 on thelines of the figure 8, he must now return to his station along the doublecurve travelled in the first four bars by No. 5. No. 3 must follow No. 1in the other circle of the 8, and No. 5 must get back to his stationalong the double curve travelled in the first four bars by No. 1. Thus: [Illustration: Fig. 6. ] [Illustration: Fig. 7. ] The Chain is danced by Nos. 2, 4, and 6 precisely in the same way: No. 2is always leader; always turns _outward_; and Nos. 4 and 6 always followNo. 2 on the lines of the double curve, or figure 8. No. 6, as No. 5, passes between Nos. 2 and 4, in chaining. Occasionally, as for instance in "Country Gardens, " the term "Half-chain"will be found. This means that the movement shown in Fig. 4 is executedto four bars of music; another movement follows; then "Half-chain" again, bringing numbers back to original stations. If, as very often occurs, the Chain follows a movement executed in Frontformation, the dancers simply turn and follow one another as shown indiagrams, when the Chain music begins. This is called in the Notation--Chain. CROSS-OVER. This movement is executed in Front formation, to eight bars of music, asfollows: In the first two bars each dancer crosses over and takes the place of hispartner, setting the pairs back to back, thus: [Illustration: Fig. 1. ] [Illustration: Fig. 2. ] In crossing and re-crossing, _invariably_, each must keep his partner tothe right, that is, the right shoulder of each passes by the rightshoulder of each partner. In bars 3 and 4 (keeping up the step all the time) all come to theright-about, that is, face inward again, by turning to the rightward(maintaining position all the time), thus: [Illustration: Fig. 3. ] [Illustration: Fig. 4. ] In bars 5 and 6 all cross over again, right shoulder to right shoulder, bringing the side back to back and in original stations. In bars 7 and 8 all make a full turn to the right (as in Fig. 3) bringingthe side again to Front. As there are two bars to turn in after crossing over, and again afterre-crossing, the dancer must, of course, turn slowly and evenly, so thatthe turn is completed just in time for the jump in bars 4 and 8. This is called in the Notation--Cross-over. BACK-TO-BACK. As with the Cross-over, this movement is completed in eight bars. In the first four bars partners advance, right shoulder to rightshoulder, but not touching, pass one another, move to the right, re-passpartners (left shoulder to left shoulder), and retire to position, movingbackwards. Thus: [Illustration: Fig. 1. ] In bars 4 to 8 partners advance, left shoulder to left shoulder, pass, move to the left, retire backwards, re-passing right shoulder to rightshoulder, and so to original station. Thus: [Illustration: Fig. 2. ] This is called in the Notation--Back-to-back. GO-AND-COME. This is a form of the Cross-over, but made without turning. It isexecuted in Front formation, to eight bars of music. In the first twobars partners cross exactly as in the Cross-over--right shoulder to rightshoulder. In bars 3 and 4, instead of turning, retire backwards in theline they crossed--right shoulder to right shoulder. In bars 5 and 6 theycross again, but left shoulder to left shoulder, and in bars 7 and 8retire on the same line--left to left again. This is called in the Notation--Go-and-Come. THE RING. In this, wherever it occurs, partners simply alter positions so that thewhole side forms a ring, or circle. It is sometimes used at the finish ofa dance; and in "Bean-setting" it occurs at the beginning. (_See_diagrams, p. 51. ) This is called in the Notation--Ring. STEPS IN FOREGOING EVOLUTIONS. Unless special instructions are given to the contrary, the step used inbars 1 and 2 of "Chain, " "Cross-over, " "Back-to-back" and "Go-and-come, "is always 4/3 or 6/3, according to time, and 4/2 or 6/2 in bars 3 and 4;likewise, 4/3 or 6/3 in bars 5 and 6, and 4/2 or 6/2 in bars 7 and 8. THE JUMP. The manner of the Jump has been described already (_see_ p. 33). Itremains to tell of the different ways in which the movement is employed, and to assign to each a Notation number. The Jump is used in two ways only, as follows:-- 1. In position. That is, the dancer jumps where he stands, withoutchanging front. This is called in the Notation--Ju. 2. To make a half-turn. That is, in military phrase, to make a"half-right--or left--turn. " This is called in the Notation--j. For direction--to left or right--of turning, _see_ instructions under"Positions, and change of position. " The following rules as to the Jump apply to Handkerchief and Cornerdances, and are invariable. In Stick dances tapping to a great extenttakes the place of jumping, but in these, where the Jump is to be used, it will be found marked in the Notation. Movements of the hands, whichinvariably go with the Jump, will be found under heading "The Hands. " The first general rule is this: Every dancer whose turn it is to executeany movement whatsoever, must jump on last half-bar before that movementbegins. This applies, as the case may be, to the whole side, or to anypair of opposites about to execute any figure or movement. For instance, the whole side is to dance Down-and-back and Up-and-back, so on last half-bar of "Once to Yourself, " the whole side jumpstogether--then starts the figure. Also in all figures executed by thewhole side in common--in "Chain, " "Cross-over, " "Back-to-back, ""Go-and-come"--all jump together on last half-bar before the figurebegins. It is the same with pairs or opposites. In Corners and Capers each pairwhose turn it is to dance together jump on last half-bar before theybegin. As each pair finishes the next must be ready to jump on lasthalf-bar before their turn. So with the third pair; and as they finish, and the whole side takes up the next figure in common, then the wholeside jumps together on last half-bar. So much for the Jump as an invariable preliminary to all figures in theStick and Handkerchief dances. We come now to the Jump as made at themiddle and end of figures. In the first place there are the figures executed by the whole side incommon. All, then, having jumped on last half-bar before the figure is begun, jump also at middle and end of the figure as follows:-- In "Down-and-back, " Ju. , "Up-and-back, " j. (forming Fr. ), _see_ Notation, the side goes forward and back as described (_see_ p. 40) for four bars;jumps together on half-bar of bar 4, still facing in the same direction. That completes "Down-and-back, " Ju. Then, instantly, they all make acomplete turn to the right--right-about--dance as before in bars 5 to 8, and on last half-bar of bar 8 all jump, and as they jump make a half-turninward. That completes "Up-and-back, " j. (forming Fr. ). The Chain, though it is executed in Column formation, follows upon afigure executed in Front. So the preliminary jump, before beginningChain, is made Front; files make half-Chain, end numbers change places, and at half-bar of bar 4, all jump, j. , in a half-turn to Front; thencomplete Chain and jump to Front again, j. , on last half-bar of bar 8. In "Cross-over, " "Back-to-back, " "Go-and-come, " all executed in Frontformation, the whole side jumps in position, Ju. , at half-bar in bars 4and 8. In Corners and Capers, _wherever opposites change places_, the rule isthat they jump on last half-bar, as they finish their part in thefigure--that is, as they complete the movement of changing or re-changingplaces. In "Blue-eyed Stranger, " where the whole side dances in position foreight bars, all jump at half-bar in bar 8. Should the side elect to keepup the step for sixteen bars (_see_ p. 50), then all jump at half-bar inbar 16. In "Bluff King Hal" and "Morris Off, " there is no Jump at all. THE HANDS. The movements of the hands are made invariably according to rule, asfollows:-- These rules apply, as with the Jump, to all Handkerchief and Cornerdances. In making the Jump, the hands are always, with rigid arms, thrown abovethe head. In "Down-and-back" and "Up-and-back, " "Chain, " "Cross-over, ""Back-to-back, " "Go-and-come, " movements of the hands are always thesame. That is: Commencing with the preliminary Jump, when the hands areabove the head, on beginning of first bar, with first step (of 4/3 or 6/3step), hands are swung backward; forward on half-bar; back again, beginning of bar 2, and forward on half-bar of bar 2. In bar 3 (4/2 or6/2 step) the hands, being already upward and forward, are swung twice ina circle, commencing inward, so that the handkerchiefs are waved in adouble circle over the head. At beginning of bar 4 the hands are loweredstraight in line with the body, and at half-bar of bar 4, with the Jump, they are thrown straight above the head on rigid arms. These movements of the hands are always the same in every Handkerchiefand Corner dance. Whenever the 4/3 or 6/3 step is used the hands areswung as already described. Also, wherever there are the two bars of 4/2or 6/2 step, the hands are also used as already described--double circleoverhead; down, and up on the Jump. In Capers, wherever the 4/1 or 6/1 High Step is used, the hands are swungbackward on beginning of bar, forward and upward on half-bar; and thismovement is continued all the time the High Step (4/1 or 6/1) is used. The arms in all these movements described, should really be swung as far, both backward and forward, as possible. The Morris-men themselves swingthe arms behind to an angle of 45 degrees or so; but in the forward swingtheir hands are raised forward and a little higher than the head, on armsslightly bent at the elbows. THE CALL. In the Notation it will be seen that at the end of some dances the sideis instructed to "Call. " This means that on last half-bar all raise theirvoices on a high-note "Ah!" something after the manner of Scottishdancers, though the Morris "Call" is less of a war-whoop and more of alusty shout. LENGTH OF DANCES. It must always be remembered that the Morris-men themselves vary thelength of their dances, according to the humour of the moment, and theirfreshness or fatigue. A dance can always be shortened by leaving out oneor more figures: the musician will know what to do by the call of theleader. In "Blue-eyed Stranger, " for instance, if the side is feelingparticularly high-spirited, the whole sixteen bars of "B" music may bedanced; but as a rule this will be found too long. Again, to extend "Rigso' Marlow" (another trying dance) the music may be played four timesinstead of three, when Back-to-back will be danced to "A" music. "BluffKing Hal, " danced to its full length as shown in the Notation, will as ageneral rule also be found too long. It can easily be shortened byleaving out repetitions or certain figures. In brief, once the dances arelearned it is a very simple matter, and quite according to tradition, tolengthen or abbreviate them in any way desired. SPECIAL INSTRUCTIONS FOR VARIOUS DANCES. BEAN-SETTING (STICK DANCE). TO FORM RING. This is the only one of those dances we have described that begins withthe Ring. The side starts in Column. To form Ring, Nos. 3 and 4 move alittle outward from the line as "A" music begins. Then all dance in Ringformation to the right (_see_ Fig. 1) until, at the beginning of bar 4, all opposites have changed places: that is, Nos. 1 and 6 are each in theother's position, Nos. 3 and 4, 2 and 5 have also changed. In bar 4, files close in slightly, j. (_i. E. _, form Column), and tap sticks acrosson half-bar of bar 4. In remaining four bars of "A" music form Ringagain, and all return to position as they came (_see_ Fig. 2). Athalf-bar in bar 8, all j. (forming Column), and partners tap sticksacross. [Illustration: Fig. 1. ] [Illustration: Fig. 2. ] DIBBING. This is the term used in the dance, as it is used in field and gardenwork, for making a hole with a dib, or dibber, in the soil, into whichthe seed is dropped. The dance, of course, represents the setting ofbeans--more truly and largely, the sowing of the seed in springtime. In dibbing (_see_ [small box] in music) all stoop well forward, holding theright hands outward, with sticks pointing to the ground. The act ofdibbing consists in thumping the stick firmly on the floor and at oncelifting it again. B. Bar 1. --Dib all together at beginning and half-bar, as shown in music([small box]). Bar 2. --Remain stooped; at beginning of bar, pairs tap sticks across--oddnumbers tapping even numbers. Hold sticks crossed as they were tapped forremainder of bar. Bar 3. --Dibbing, as in bar 1. Bar 4. --Beginning, partners tap across; half-bar, No. 1 taps No. 3. Bar 5. --Beginning, No. 3 taps No. 5; half-bar, No. 5 taps No. 6. Bar 6 (9/8 time). --Beginning, No. 6 taps No. 4; second beat, No. 4 tapsNo. 2; third beat, partners tap across, as in bar 2. In remaining six bars of "B, " repeat dibbing and tapping as in the firstsix bars. In the notation of "Bean-setting" (p. 61), the term "Dibbing" will beused to denote all the actions, here explained in detail, that go to themusic of "B. " COUNTRY GARDENS (HANDKERCHIEF DANCE). In the hand-striking figure of this dance (for hand-strokes, _see_ markO in "B" music) there are four movements, as follows:-- Each dancer strikes both hands together. This is called in the Notation that follows--b. Each, with the right hand, strikes the right hand of partner. This is marked in the Notation--r. Each, with the left hand, strikes the left hand of partner. This is marked in Notation--l. Each throws up hands. This is marked in Notation--u. In striking, handkerchiefs are held bunched together in the hands. [Illustration: NOTATION OF HAND-STRIKING. BEATS 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 HANDS b b r b b l b b r l u STEP R R R R L L L L R R R R both Ju. ] CONSTANT BILLY (STICK DANCE). In this, sticks are held and used, both in the "A" and "B" music, asexplained in "Rigs o' Marlow" (_see_ p. 55). Stick-tapping in "B" music is done according to the following diagram:signs, &c. , to be read as in diagrams for "Rigs o' Marlow" (_see_ Xin music). The beats whereon stick-tappings occur are written in diagramas b. (bar); and h. -b. (half-bar). In the first bar of "B" music, at half-bar, No. 1, with top end, tapsbutt of No. 2. In the second bar, at half-bar, No. 2, with top end, tapsbutt of No. 1. In the third bar, at half-bar, No. 1 taps No. 2 as infirst bar. In the fourth bar, No. 1, at the beginning, with the butt, taps No. 2's top end; and at half-bar, No. 1, with top, taps top end ofNo. 2, thus:-- [Illustration: DIAGRAM OF STICK-TAPPING. ] The steps are the same for all. When tapping is continued (_see_Notation) for eight bars, then, in the last four, all start on the leftfoot, and step thus: L. L. R. R. L. L. R. L. Tapping is the same in first andsecond four bars. In tapping, of course, odd numbers do as No. 1 in diagram, even numbersas No. 2. RIGS O' MARLOW (STICK DANCE). In this the sticks are held throughout by the middle, in the mannerexplained (_see_ p. 60). In all single-tapping passages, to "A" music, sticks are held slanting upward, like a single-stick, but with the upperarm close to the body. In Column formation, odd numbers--that is, leadingfile--hold the forearm to rightward; even numbers--right file--hold theforearm across the body, so that the sticks cross between files, readyfor tapping. Leading file always taps the other file, which holds thesticks firm. In the double-tapping, to "B" music, sticks are held in the middle, handbelow stick, which is now held straight, parallel with the ground, advanced towards partner, and raised about as high as the neck. The following diagram will show how sticks are tapped in this movement. Angles and numbers, as in p. 54, &c. , represent the leader and partner, Nos. 1 and 2: the other pairs, of course, tap precisely as these two, oddand even numbers respectively. The arrows between angles represent sticks. As tapping has now to be donewith both ends of the sticks, these are shown in this way. The barbed endis the top, the feather the butt-end. The top is held always to theright--butt, or barb, to leftward of each dancer. The tapping will beshown bar by bar. The steps shown apply to _all_ the dancers. In the first bar of "B" music, No. 1, with top end, taps the butt of No. 2, on beats 3 and 4, thus:-- [Illustration: DIAGRAM OF STICK-TAPPING. ] In the second bar of "B" music, No. 2, with top end, taps the butt of No. 1, on beats 3 and 4, thus:-- [Illustration: DIAGRAM OF STICK-TAPPING. ] In the third bar of "B" music, No. 1 taps No. 2 precisely as in bar 1. Same step. In the fourth bar of "B" music, No. 1 taps No. 2 on every beat, asfollows: First beat, No. 1, with butt end, taps No. 2 on top end. Second beat, with top end, taps butt. Third beat, with butt, taps top. Fourth beat, with top end, taps top of No. 2. Thus:-- [Illustration: DIAGRAM OF STICK-TAPPING. ] This double-tapping looks complicated, both in dance and diagram, but isreally very simple. A few hints upon the most difficult bar, the fourth, will explain the whole. In this, on beat 1, No. 1, to tap with his buttthe top of No. 2's stick, raises the wrist and hand till the stick isabove and at right-angles to No. 2's, then thrusts outward till his buttstrikes No. 2's top. On beat 2, No. 1 lowers his hand, keeping the stickperpendicular, moves hand to right and taps his top on No. 2's butt. Beat3 is as beat 1; on beat 4, No. 1 simply lowers hand and taps No. 2 on hisright, or top end. This explains all the taps that occur. For the method, which is invariable, except where specially stated, ofholding the stick (_see_ p. 60). In the second four bars of "B, " double-tapping and steps are repeatedprecisely as in first four bars; and throughout the dance it is the sameto "B" music, four bars of double-tapping, repeated, up to the call "Allin. " BLUFF KING HAL. In this the step is 4/3 throughout. It should be danced something afterthe fashion of "Morris-Off, " but not quite so soberly; yet the step isless vigorous than the normal Morris step. Like "Morris-Off" it has, whatwith its length and staid monotony, a quaintness all its own. To teachand to learn the right way of dancing "Bluff King Hal" is more a matterof drill and precision than lusty _abandon_: it must be danced evenly, seriously almost, and quite quietly, or its true effect will be marred orlost. The music is marked _ad libitum_: the musician simply brings his laboursto an end in whichsoever section he shall hear the warning call of "Allin. " Even the Morris-men themselves do not invariably go through all themovements. These instructions are given in order that, should audience ordancers weary of the exercise, it can be curtailed. Where we have taughtthe dance to novices, we have found, at first, curtailment to beadvisable, for the length and monotony of it palled. Later, however, whenthe learners had mastered its curious intricacies, we found no wearinessamongst them, but a constant demand for every single movement to beperformed in its traditional completeness, and over and over again, aslong as we chose to play it. We shall therefore describe it here atlength, and leave it to the tact and discretion of the teacher where andwhen and to what extent it shall upon occasion be abbreviated. The filesshould stand as in Corner Dances--about twelve feet apart. HOW D'YE DO (CORNER DANCE). This dance, as will be clearly seen from the Notation (_see_ p. 75), serves as illustration of the national method of settling quarrels--by about of fisticuffs. All the dances are typical of the race; this one isof course singularly so. Where boys are found disposed to look favourablyupon the Morris dance, "How d'ye do" may be recommended as the very bestto encourage the tendency in them. There is a spice of wholesomerowdiness in the spirit of the dance that will not fail to make itselfknown and beloved of boys. Besides, the shaking of hands before thefight, the squaring-up for war, and the reconciliation, can only be giventhe right robustious ring and defiance by the fighting sex. Another mostengaging feature of "How d'ye do, " is that the notes fitting these words, as will be found, are sung in every instance by the dancers, before, during and after the encounter. There is plenty of room, there, for adifferent sounding of the phrase: for making it ring of challenge, andstrife, and victory--also of honourable defeat, after lusty strokes havebeen dealt and taken: the next best thing to a win--sometimes even abetter thing. The following instructions for the dancing of "How d'ye do" must be notedin connection with the Notation (_see_ p. 75). The phrase "How d'ye do" is always sung, by all the couples, as markedand played in music "B. " Opposite pairs advance as shown. They shouldmeet together in the centre on the word "do, " and shake hands, or squareup for the fight, according to instructions. Having joined hands, or squared, and paused in the centre, the first twopairs (Nos. 1 and 6, and 2 and 5) break away immediately after pause, andback briskly to their places, making room for the next pair. There is nochanging of corners in this dance. The last pair (Nos. 3 and 4) remain in position, holding hands orsquaring up, during pause in music, and still remain in the attitudewhile bars 4 and 5 of "B" are played. During these bars all the otherdancers stand still. When the music strikes into "A" section, all take part according toinstructions. Nos. 8 and 4 loose or lower hands immediately the "A" musicstarts, and take their place and part with the others. SHEPHERD'S HEY. STICK-TAPPING. In this, the sticks are held in the fist, up and slanting outward, thetop as high as the head. Partners cross sticks, leading file (Nos. 1, 3, and 5) holding to the right of even numbers. The tapping (or clashing, rather, for here the sticks are loudly clashed together) is done on firstthree beats of bars 1 and 2, and 5 and 6 of "B" music (_see_ mark X). Partners strike each other's sticks, right, left, right, according toposition, in the manner of sham fencing--the manner of brigands inpantomime. While the tapping is being done all stand fast, not moving the feet atall. When the six taps are finished, in bars 1 and 2, 5 and 6, the sticksare held crossed and in position; and in bars 3 and 4, 7 and 8 all breakinto 4/3 step, and keep it up throughout those bars. The movement soundsabsurdly simple: so it is, but if done with precision the effect is atonce quaint and stirring. HAND-CLAPPING. This is done with the naked hands, handkerchiefs hanging loose frommiddle fingers; and dancers should clap hands as loudly as ever they can. Each dancer claps hands and knees in a number of different ways, according to explanation and diagram which follow. All stand fast whileclapping, not moving the feet. Each individual dancer-- Claps his hands together before him: Shown thus in diagram which follows b. Or slaps right knee with right hand r. K. Or slaps left knee with left hand l. K. Or raises right knee and claps hands under it un. R. Or raises left knee and claps hands under it un. L. Or claps both hands together, behind him b. Beh. [Illustration: DIAGRAM OF HAND-CLAPPING. ] Hand-clapping in last four bars of "B" music is a repetition of clappingin first four bars, as shown in diagram. Therefore in the Notation ofthis dance (p. 77) the term "Hand-clapping" means clapping as shownabove, and the same repeated. ON HOLDING STICKS. Unless specially instructed otherwise, the stick is held, whether at theend or middle, as follows. It must be grasped much as a penholder shouldbe; that is, lying in the hollow at the base of the thumb, supported bythe second finger, and with the forefinger and thumb meeting togetherabove it, to hold it in place. NOTATION. MUSIC. | MOVEMENTS. | FORMATION. | | | BEAN SETTING (STICK DANCE). | |In this dance, the step throughout | | is 4/2. |Once to yourself. |Partners tap across on last half-bar. | Column. | | A. | |(1st time). |Ring (_see_ p. 51). | Col. To |Partners tap across at half-bar in | Ring. | bars 4 and 8. | B. | |(1st time). |Dibbing (_see_ p. 52). | Front. | | A. | |(2nd time). |Cross-over. | " |Partners tap across at half-bar in | | bars 4 and 8, that is, at middle | | and end of the Cross-over. | | | B. | |(2nd time). |Dibbing. | " | | A. | |(3rd time). |Back-to-back. | " |Tap as in A. (2nd time). | " | | B. | |(3rd time). |Dibbing. | " |Two bars before the end, leader | | calls "All in, " whereupon all, as | | they tap for the last time, j. | | outward, forming Column, and | Column. | stand for a moment with sticks | | crossed. | | ALL IN. | MUSIC. | MOVEMENTS. | FORMATION. | | | LAUDNUM BUNCHES | | (CORNER DANCE). | | |Once to yourself. |Ju. Last half-bar. | Column. | | A. |Ju. Last half-bar. | " |Down-and-back, Ju. | " |Up-and-back, j. (forming Fr. ). | Col. To | | Front. | | B. (Corners). | |Bars 1, 2 and 3 |Nos. 1 and 6 advance, at 6/3 step, | Front. | and cross to each other's place. | | |Bar 4 |Nos. 1 and 6 (having now changed | " | corners), turn about, inward, at | | 6/3 step, till they face each other. | | |Bars 5 and 6 |Nos. 1 and 6 advance, at 6/3 step, | " | to centre, until they are face to | | face; they do not touch or pass. | | |Bars 7 and 8 |Nos. 1 and 6 retire at 6/2 step, | " | back to corners; and Ju. On | | half-bar of bar 8. They have | | now changed corners. | | | B. (Corners) | | (2nd time). |Nos. 2 and 5 change corners, | " | precisely as Nos. 1 and 6 in B, | | 1st time. | | | B. (Centres) | | (3rd time). |Nos. 3 and 4 change places precisely | " | as the others. | | Opposites _have now all_ changed | | places. | | | A. (repeat). |Chain. | Column. | | B. (Corners) | | (Repeat) |Nos. 1 and 6 change corners as | Front. 1st time. | before. | | | B. (Corners) | | (Repeat) |Nos. 2 and 5 change corners as | " 2nd time. | before. | | | B. (Centres) | | (Repeat) |Nos. 3 and 4 change places as | " 3rd time. | before. | |Opposites have now all re-changed | | places. | | | A2. |Cross-over. | " | | C. (Capers) | | (1st time). | |Bar 1 |Nos. 1 and 6 advance at 6/3 step | " | towards the centre, facing each | | other's corners. | | |Bar 2 |On beat 2, Nos. 1 and 6, their right | " (9/8 time: | shoulders now level, and almost | 3 beats). | touching, jump heavily on both | | feet, and advance, at 6/1 step, | | High, on beat 3. | | |Bar 3 |Nos. 1 and 6 continue advance, | " | 6/1, High. | | |Bar 4 |Nos. 1 and 6 reach opposite corners | " | and turn about to right and | | inward, same step. | | |Bar 5 |Nos. 1 and 6 advance, 6/1, High, | " (9/8 time: | and come face to face on third | 3 beats). | beat. | | |Bars 6 and 7 |Nos. 1 and 6 remain facing, and | " | step at 6/3 step. |Bars 8 and 9 |Nos. 1 and 6 retire to corners at | Front. | 6/2 step. Ju. On half-bar of | | bar 9. | |Nos. 1 and 6 have now changed | | corners. | | | C. (Capers) | | (2nd time). |Nos. 2 and 5 change corners | | precisely as Nos. 1 and 6 in | | C, 1st time. | | | C. (Capers) | | (3rd time). |Nos. 2 and 4 change places precisely | " | as the others. | | | A2. (repeat) |Back-to-back. | " | | C. (Capers) | | (Repeat). |Movements as in first Capers. | | Opposites re-change places. | |But at the beginning of bar 6 of | | 3rd repeat, leader calls "All in, " | | whereupon all turn inward, at | | 6/3 step, form Ring in the centre, | Ring. | raise the right feet; and on last | | beat, all throw up hands and | | Call. | MUSIC. | MOVEMENTS. | FORMATION. | | | COUNTRY GARDENS | | (HANDKERCHIEF DANCE). | | |Once to yourself. |Ju. Last half-bar. | Column. | | A1. |Down-and-back, Ju. | " | | |Up-and-back, j. (forming Fr. ). | Col. To | | Front. | | B1. | |Bars 1 to 4. |Hand-striking as per Notation | Front. | (_see_ p. 58). | | |Bars 5 to 8. |Half-chain. | Column. | |Bars 9 to 12. |Hand-striking. | Front. | |Bars 13 to 16. |Half-chain. This completes the | Column. | Chain. | | | C1. |Chain. | Column. | | B2. | |Bars 1 to 4. |Hand-striking. | Front. | |Bars 5 to 8. |Hand-striking, repeated. | " | | A2. |Cross-over. | " | | B3. | |Bars 1 to 4. |Hand-striking. | " | |Bars 5 to 8. |Hand-striking, repeated | " | | C2. |Back-to-back. | " | | B4. | |Bars 1 to 4. |Hand-striking. | " | |Bars 5 to 7. |Hand-striking, repeated. Beginning | " | of bar 5, leader calls "All in. " | | |Bar 8. |Beat 1, all j. (giving Col. | Column. | formation). Half-bar, all throw | | up hands. | | | | ALL IN. | MUSIC. | MOVEMENTS. | FORMATION. | | | CONSTANT BILLY (STICK DANCE). | | |Once to yourself |Partners tap across, last half-bar. | Column. | | A1. |Down-and-back, Ju. | " | | |Up-and-back, j. (forming Front). | Col. To | | Front. |Partners tap at half-bar in bars 4 | | and 8. | | | B1. | |Bars 1 to 4 |Tapping (_see_ diagram, p. 54). | " | |Bars 5 to 8 |Half-Chain. Tap on half-bar in | Column. | bar 8. | | |Bars 9 to 12 |Tapping, as in first 4 bars. | Front. | |Bars 13 to 16 |Complete Chain. Tap on last | Column. | half-bar. | | | A2. |Chain. Tap at half-bar in bars 4 | " | and 8. | | | B2. | |Bars 1 to 4 |Tapping as before. | Front. | |Bars 5 to 8 |Tapping as before. | " | |Bars 9 to 16 |Cross-over. Tap at half-bar in | " | bars 12 and 16. | | | A3. | |Bars 1 to 4 |Tapping as before. | " | |Bars 5 to 8 |Tapping as before. | " | | B3. | |Bars 1 to 8 |Back-to-back. Tap as in Chain, &c. | " | |Bars 9 to 12 |Tapping as before. | Front. | |Bars 13 to 16 |Tapping as before; but in bar 14 | " | leader calls "All in, " and in bar | | 16 all j. (to Col. ), and tap across | Column. | on last half-bar, holding sticks | | as at the beginning. | | | | ALL IN. | MUSIC. | MOVEMENTS. | FORMATION. | | | TRUNKLES (CORNER DANCE). | | |Once to yourself |Ju, last half-bar. | Column. | | A1. |Down-and-back, Ju. , Up-and-back, | Column | j. (forming Fr). | to Fr. | | B1. (Corners). | | (1st time). |Nos. 1 and 6 advance at 4/3 step, | Front. Bars 1 to 8 | beginning with the left foot, so | | that they are face to face at the | | end of bar 3. | | |Bar 4 |At beginning, Nos. 1 and 6 stamp | | their right feet. | |Nos. 1 and 6 raise and swing their | | right feet and on half-bar, | | strike them together, sidelong; | | then step briskly backward to | | their places, making room for | | Nos. 2 and 5. | | | B1. (Corners). | | (2nd time). |Nos. 2 and 5 do precisely as Nos. 1 | | and 6 in B1, 1st time. | | | B1. (Centres). | | (3rd time). |Nos. 3 and 4 do precisely as Nos. 1 | Front. | and 6 in B1, 1st time. | | | C1. (Capers). | | (1st time). |Nos. 1 and 6 advance at 4/3 step; | "Bars 1 and 2 | pass in centre, right shoulders | | touching, and get to each other's | | places. | | |Bar 3 |Nos. 1 and 6 turn about, inward | " | and to the right, at 4/3 step. | | |Bar 4 |Nos. 1 and 6 advance at 4/3 step | " | until they come face to face, but | | do not touch or pass. | | |Bar 5 |Nos. 1 and 6 retire, at 4/2 step, to | " | opposite corners. | | |Bar 6 |Beginning, Nos. 1 and 6 reach | " | opposite corners. | |Half-bar, Nos. 1 and 6 Ju. | |Nos. 1 and 6 have now changed | | corners. | | | C1. (Capers) | | (2nd time). |Nos. 2 and 5 change corners as | " | Nos. 1 and 6 in C, 1st time. | | | C1. (Capers) | | (3rd time). |Nos. 3 and 4 change places as | " | Nos. 1 and 6 in C, first time. | | | A1. (repeat). |Chain. | Column. | | B1. (repeat). |As before, with the difference only | Front. (3 times). | that pairs start with right foot | | so that, in bar 4, they stamp | | and strike together the left feet. | | | C1. (repeat). |As before, All change places | Front. (3 times). | again, returning, therefore, to | | original stations. | | | A2. |Cross-over. | " | | B2. |As in B1. Pairs start with left | " (3 times). | feet, and stamp and strike right | | feet in bar 4. | | | C2. (Capers). | | (3 times). |As in C1, except that pairs, in | "Slower, except | changing places, step rather | in last two | higher to the slower music, also | bars, played | in the last two bars of normal | in original | time. The High Step is to be | time. | reserved for the Slow Capers in | | C3, and repeat. | | | A2. (repeat). |Back-to-back. | " | | B2 (repeat). |As in B1 (repeat), pairs start with | " (3 times). | right feet so that, in bar 4, they | | stamp and strike the left feet. | | | C2 (repeat). | | (3 times). |As in C2. Pairs re-change. | " Capers. | | Slower. | | | | A3. |Cross-over. | " | | B3. |As in B1 and B2. Pairs start with | " (3 times). | left feet, and stamp and strike | | right feet. | | | C3 (Capers). | | (3 times). |As in C1, pairs change places. | | |Bars 1, 2, 3, 4 |In these the step is 4/1, and High | " in each | --really as high as possible. | repetition | | (very slow). | | | |Bars 5 and 6 |In these the pairs retire, after | Front. In each | meeting in centre, at 4/2 step, | repetition | lifting the feet as high as | (_presto_). | possible, and as quickly. The | | greater the contrast between | | these two quick bars and the | | preceding slow ones, the better | | the effect. | | | A3. (repeat). |Back-to-back. | " | | B3. (repeat). |As in B1 and B2 (repeats), pairs | " (3 times). | start with right feet, and stamp | | and strike left feet in bar 4. | | | C3. (Capers) | | Very slow. |As in C3. Pairs re-change to | " (Repeat). | original places. | (3 times). |At the beginning of bar 5, in final | | repetition of the music, leader | | calls "All in, " when all draw | | together into Ring, throw up the | Fr. To Ring. | right hands, raise the right feet, | | and Call. | | | | ALL IN. | MUSIC. | MOVEMENTS. | FORMATION. | | | RIGS O' MARLOW (STICK DANCE). | | |Once to yourself |Tap sticks on last two beats of | Column. | bar 4. | A. | |(1st time). |Step 4/2 throughout "A" music in | " | all repetitions. | |Down-and-back twice. | |Partners tap sticks across on last | " | two beats of bars 4 and 8; but | | on making last tap but one, j. | Col. To | (forming Fr. ), so that final tap | Front. | is given in Front formation. | | | B. | |(1st time). |Double-tapping. (For instructions, | Front. | _see_ diagram, p. 55). | | | A. | |(2nd time). |Chain. Tap sticks as in A, 1st | " | time. | | | B. | |(2nd time). |Double-tapping, as in B, 1st time. | " | | A. | |(3rd time). |Cross-over. Tap sticks as in A, 1st | " | time. | | | B. | |(3rd time). |Double-tapping, as in B, 1st time. | " | | A. | |(4th time). |Back-to back. Tap sticks as in | " | A, 1st and 2nd time. | | | B. | |(4th time). |Double-tapping as in B, 1st and | " | 2nd time. In bar 7, leader calls | | "All in, " whereupon all j. , giving | | Col. Formation, in which final | Column. | tap is made. | | | | ALL IN. | MUSIC. | MOVEMENTS. | FORMATION. | | | BLUFF KING HAL | | (HANDKERCHIEF DANCE. ) | | |Once to yourself |None. | Front. | | A. | |Bars 1 to 4 |Advance slowly, until files are face | " | to face. On half-bar of bar 4, | | partners nod to one another (_see_ | | instructions, p. 57). | | |Bars 5 to 8 |Retire to original position. | Front | | B. | |Bars 1 to 4 |Mark time. | " | |Bars 5 to 8 |Advance and nod as before. | " | | C. | |Bars 1 to 4 |Retire. | " | |Bars 5 to 8 |Mark time. Files link arms in last | " | bar, and remain linked until | | told to loose arms. | | | A. | |Bars 1 to 4 |Advance as before, nod. | " | |Bars 5 to 8 |Retire. | " | | B. | |Bars 1 to 4 |Mark time. | " | |Bars 5 to 8 |Advance as before, nod. | " | | C. | |Bars 1 to 4 |Retire. | " | |Bars 5 to 8 |Loose arms. Files turn very slowly | " | about until they are reversed. | | | A. | |Bars 1 to 4 |Retire, until partners' backs are all | " | but touching. | | |Bars 5 to 8 |Advance to original position. | " | | B. | |Bars 1 to 4 |Mark time. | " | |Bars 5 to 8 |Retire as before. | " | | C. | |Bars 1 to 4 |Advance as before. | Front. | |Bars 5 to 8 |Mark time. Link arms in last bar, | " | and remain linked until told to | | loose arms. | | | A. B. |Go through same movements, | " | linked, as in preceding A and B. | | Loose arms at end of B. | | | C. |Files extend into single line, facing | Line. | music. To do this, Nos. 1 and 2 | | advance; Nos. 3 and 5 follow | | No. 1; Nos. 4 and 6 follow No. 2. | | When all are in line, with Nos. 1 | | and 2 at wings, Nos. 5 and 6 in | | centre, all face music. Distances | | between dancers to be kept the | | same as when in file. | | | A. | |Bars 1 to 4 |Mark time. | " | |Bars 5 to 8 |Advance. | " | | B. | |Bars 1 to 4 |Retire. | " | |Bars 5 to 8 |Mark time. | " | | C. | |Bars 1 to 4 |Advance. | " | |Bars 5 to 8 |Retire. Link arms in last bar. | " | | A. B. |Mark time, advance and retire | " | linked, and mark time, as in | | preceding A and B. | |In last bar, loose arms and join | | hands. | | | C. |Form into Ring: Nos. 1 and 2 | Ring. | joining hands in last bar. | | | A. } | | (8 bars), } |Move to right, dancers making the | " and B. } | complete circle. |(Bars 1 to 4). } | | | | B. } | |Bars 5 to 8, } |Move to left, dancers nearly | " and } | travelling round circle again. | C. } | |Bars 1 to 4. } | | | | C. | |Bars 5 to 8 |Nos. 5 and 6 loose hands. No. 5 | Two Rings. | joins hands with No. 1, and No. 6 | | with No. 2, forming two rings, | | one to each file. Each ring will | | form round about the line of | | position of its numbers when in | | file. | | | A. } | | (8 bars) } |Rings move to right, as single | Two Rings. And B. } | Ring previously, but making |Bars 1 to 4. } | double circuit. | | | B. } | |Bars 5 to 8. } |Rings move to left, as single Ring | " and } | previously, nearly double circuit. | C. } | |Bars 1 to 4. } | | | | C. | |Bars 5 to 8 |Rings break up and re-form line of | Two Rings | 6 as before. | to Line. | | A. B. C. |Line mark time, advance, retire, | Line. | &c. , as before, link arms in last | | bar of C. | | | A. B. C. |Line as before, linked. Last 4 bars | Line. | of C, break into files, in original | | position in Front, but reversed | Front. | as before. | | | A. B. C. |Files reversed, mark time, retire, | " | advance, &c. , as before. Link | | arms in last bar of C. | | | A. B. C. |Files, reversed, mark time, retire, | " | advance, &c. , as before, arms | | linked. Loose arms, and turn | | slowly about in last 4 bars of C, | | forming Front. | | | A. B. C. |Mark time, advance, nod, &c. , as | " | before. Link arms in last bar | | of C. | | | A. B. C. |Mark time, advance, &c. , with | " | linked arms, as before. | |At the call of "All in, " the dance | | ends quietly on the last four bars, | | mark time, of C. | MUSIC. | MOVEMENTS. | FORMATION. | | | HOW D'YE DO (CORNER DANCE). | | |Once to |Ju. Last half-bar. | Column. Yourself. | | | | A. | |(1st time). |Down-and-back, Ju. Up-and-back. , | Column to | j. (forming Fr. ). | Front. | | B. | |(1st time) |This is the Challenge. Nos. 1 and | Front. (Corners). | 6 advance and shake hands, as |Bar 1. | described (_see_ p. 58). | | |Bar 2. |Nos. 2 and 5 the same. | " | |Bar 3. |Nos. 3 and 4 the same. | Front. | |Bar 4 and 5. |Nos. 3 and 4 pause (_see_ p. 58). | " | | A. | |(2nd time). |Chain. | Column. | | B. | |(2nd time) |This is the Fight. Nos. 1 and 6 | Front. (Corners). | advance and square up, as |Bar 1. | shown in description (_see_ p. 58). | | |Bar 2. |Nos. 2 and 5 the same. | " | |Bar 3. |Nos. 3 and 4 the same. | " | |Bars 4 and 5. |Nos. 3 and 4 pause as before. | " | | A. | |(3rd time. ) |Cross-over. | " | | B. | |(3rd time) |This is the Reconciliation, and | "(Corners). | goes precisely as in B, 1st time. | | | A. | |(4th time). |Back-to-back. | " | | B. | |(4th time) |This is Good Fellowship, and goes | "(Corners). | precisely as in B, 1st and 3rd | | time. | | | A2. |Cross-over. As usual, up to bar 7, | " | when leader calls "All in, " | | whereupon all close inward into | | Ring in centre; throw up hands, | Ring. | raise right feet on last half-bar, | | and Call. | | | | ALL IN. | MUSIC. | MOVEMENTS. | FORMATION. | | | SHEPHERD'S HEY | | (STICK OR HANDKERCHIEF DANCE). | | |Once to |Ju. Last half-bar. | Column. Yourself. | | | | A1. |Down-and-back, Ju. | " |Up-and-back, j. (forming Fr. ) | Col. To Fr. | | B1. |Tapping (or Hand-clapping). | Front. | (_See_ p. 59. ) | | | A2. |Chain. | Column | | B2. |Tapping (or Hand-clapping). | Front. | | A1. | |(2nd time). |Go-and-come. | " | | B1. | |(2nd time). |Tapping (or Hand-clapping). | " | | A2. | |(2nd time). |Back-to-back. | " | | B2. | |(2nd time). |Tapping (or Hand-clapping). | " | | A3. |Go-and-come. J. On last half-bar | Fr. To Col. | (to Col. ). | |To extend, repeat A1, B1, A2, B2 | | (2nd time). | | | A3. |Dance at 4/3 quick-step, mark time | Column. (repeat). | (that is, in position); left hand |(_Presto_). | hanging loose, until last half-bar, | | when it is thrown up. | | Right hand holds stick across the | | body, the stick slanting upward | | towards the right shoulder. | |Two bars from end leader calls | | "All in. " All Ju. On last half-bar, | | and throw up both hands. | | | | ALL IN. | MUSIC. | MOVEMENTS. | FORMATION. | | | BLUE-EYED STRANGER | | (HANDKERCHIEF DANCE). | | |Once to yourself. |Ju. Last half-bar. | Column. | | A1. |Down-and-back, Ju. | " |Up-and-back, j. (forming Fr. ) | Col. To Fr. | | B1. |All dance at 4/3 step, mark time; | Front. Bars 1 to 8. | swinging hands back and forth | | together in time. Bars 7 and 8 | | to be danced in 4/2 step. | | | B1. |Chain. | Column. Bars 9 to 16. | | | | A2. |As previously in B1, bars 1 to 8. | Front. | | B2. | |Bars 1 to 8. |Cross-over. | " | | B2. | |Bars 9 to 16. |As previously in B1, bars 1 to 8. | " | | A1. | |(2nd time). |Back-to-back. | " | | B1. | |Bars 1 to 8. |As previously in B1, bars 1 to 8, | "(2nd time). | until bar 7, when leader call | | "All in. " All then draw into | | Ring in centre, throw up hands | Fr. To Ring. | on half-bar of bar 8, and Call. | | (To extend this dance to full | Ring. | length of music, _see note_ p. 50. ) | | | | ALL IN. | MORRIS OFF. This, as the name denotes, is the tune to which the dancers step as theyleave the scene--be it stage, or high road, or village green--of theirperformance. Its execution is very simple, and there is no limit to thenumber of times the eight-bar measure may be played--or rather, the limitis set according to the fancy of the leader, for he may, if he pleases, and if the audience manifests no impatience, lead his side back and forthin a serpentine track, round and round for ever so long, till finallythey wind from the scene. The step is the 4/3 step throughout, but with a difference. It is more ofa plod, with less of stamping and much less lifting of the feet. MorrisOff, danced in the traditional manner, gives one the impression of acompany agreeably tired, but pleased and comfortable, having rollicked totheir hearts' content, and to the contentment of the lookers-on; andbeing now upon the way to supper, and to bed. Of course, if they be stillexuberant, they may show it, and stamp their lustiest; still a demurerstep will usually suggest itself as the more appropriate. This quietermanner is best described as almost a slow, very gentle trot, the stepslittle longer than the foot--left, right, left; and then, on the fourthbeat, not a hop, but a tap with the heel. As for the movements. After "Once to yourself, " the side marks time for 6bars, and makes a complete right turn, slowly, in bars 7 and 8; then theleader, with Nos. 3 and 5 behind him, starts forward as described, Nos. 2, 4 and 6 meanwhile marking time. As No. 5 draws level with No. 2, hefalls in behind, and Nos. 4 and 6 in order after him. The side is now going slowly forward, in the manner of "Follow myleader. " In every repetition of bars 7 and 8, all make a complete rightturn, as already described, so that at the repeat of the first bar allare again facing in the course the leader shall have set. The course will be set according to circumstances, and the position ofexit, if in a room; or, if in the open, the leader will wind--or in theold manner of saying, he will "hey"--to some chosen point for quittingthe scene. To hey was to wind in and out and round about--though the term has manymeanings. That is the leader's business: to lead the side across and backagain, all turning together in the last two bars, and back and acrossagain, or round about occasionally, as long as he may please. Suppose more than one side has been dancing; then the leading side willstart as already described, the other, or others, falling in as may havebeen previously arranged. Morris Off, smoothly and quietly danced, with its strange monotony, has afascination all its own. It is farewell, with no sorrow in it; good-bye, but with no dread of loneliness to-morrow; somehow, one cannot tell how, all the wholesomeness of the Morris, and of the folk that sent it down tous, and are with us yet, is in this dance. When the dance is over, andthe bells quiet, there is neither surfeit nor exhaustion. Morris Off islike to make one think of sound sleep and clear awakenings. THE END.