VIII The Country Dance
A few country dances are still remembered by old people living in villages, but, unlike the Morris dances, by far the greater number of country dances are recorded both as to steps and figures, so that they do not come under the same heading as the strictly traditional dance. The supposition that “country-dance” is a corruption of “contre-danse,” and that it came to England from France, is not correct. It was in fact, as in name, a country dance, danced by country folk in barn and ale-house and on village greens. It travelled to France, and was called there the “Contre-danse.” Later these dances were adopted by the upper classes and even penetrated into Court circles. At this time they were at their best, and many were danced in the round form, but gradually this form became obsolete, until in the middle of the eighteenth century only the dances “longways for as many as will” were danced.
In Grove’s Dictionary of Music Mr Kidson gives an account of a dance called “Mall Peatly, the new way,” which he has seen danced in a cottage on a Yorkshire moor. “You are to hit your right elbows together and then your left, and turn with your left hands behind and your right hands before, and turn twice round and then your left elbows together, and turn as before and so to the next.” Mr Cecil Sharp has collected a number of country dances still danced by country folk, and Mr Clive Carey has also collected country dances, principally in Sussex. But the great mine of wealth wherein are the greatest numbers of these beautiful, old-fashioned dances is Playford’s Dancing Master.
The first edition of this collection is entitled “The English Dancing Master: or Plain and Easie Rules for the Dancing of Country Dances, with the tune to each dance (104 pages of music). Printed by Thomas Harper, and are to be sold by John Playford at his shop in the Inner Temple neere the Church doore.” The date is 1651, but it was entered at Stationers’ Hall on the 7th of November, 1650.
The next is “The Dancing Master,... second edition, enlarged and corrected from many grosse errors which were in the former edition.” This was printed by John Playford in 1652 (112 pages of Music). The two next editions, those of 1657 and 1665, each contain 132 Country Dances, and are counted by Playford as one edition. To both were added the tunes of the most usual French Dances, and also other new and pleasant English Tunes for the Treble Violin. (The tunes for the Violin were afterwards printed separately as “Apollo’s Banquet,” and are not included in any other edition of the Dancing Master.) The date of the fourth edition is 1670 (155 pages of Music). The fifth edition, 1675 (160 pages of Music). The sixth edition, from advertisements in Playford’s other publications, appears to have been printed in 1680. The seventh edition bears the date 1686 (208 pages), but to this “an additional sheet,” containing thirty-two tunes, was first added, then “a new additional sheet of twelve pages,” and lastly “a new addition of six more.” The eighth edition was printed by E. Jones for H. Playford, and great changes made in the airs. It has 220 pages, date 1690. The ninth edition, 196 pages, date 1695. The second part of the Dancing Master, 24 pages, date 1696. The tenth edition, 215 pages, date 1698, also the second edition of the second part, ending on page 48 (irregularly paged), 1698. The eleventh edition, 312 pages, date 1701. The twelfth edition, 354 pages, date 1703.
A sixteenth and a seventeenth edition, which, however, are identical, are in the Bodleian Library.
The directions for the dance were written under each, but only the figures are given, but no steps. The following directions for one of the dances, “All in a Garden Green,” will give an idea of the curious phraseology of the book:—
All in a Garden Green. Longways for six.
Lead up all a D. forwards and back, set and turn S. •; that again :.
First man shake his own Wo. by the hand, then the 2, then the 3, by one hand, then by the other, kisses her twice and turn her •, shake her by the hand, then the 2, then your own by one hand, then by the other, kiss her twice and turn her :.
Sides all, set and turn S. •; that again :. This as before, the We. doing it :.
Arms all, set and turn S. •; that again :. This as before, the men doing it :.
A Table explaining the characters which
are set down in the Rules for Dancing
| D. | Is for double. A double is four steps forward and backward, closing both feet. |
| S. | Is for a single. A single is two steps, closing both feet. |
| Wo. | Stands for Woman. |
| We. | Stands for Women. |
| Cu. | Stands for Couple. |
| Co. | Stands for Contrary. |
| 2. | Stands for Second. |
| 3. | Stands for Third. |
| 4. | Stands for Fourth. |
| • | This is for a strain play’d once. |
| : | This is for a strain play’d twice. |
| These two characters expresse the figures of the dance, | |
| ☉ | This stands for the Man. |
| ☽ | This stands for the Woman. |
In 1904 Miss Nellie Chaplin gave a performance of dances including the “Pavane,” “Galliard,” “Allemande,” “Courante,” “Sarabande,” and “Chacone,” and in 1906 led, through her study of old instruments and old music, to an interest in other ancient dances, and with the help of an expert in dancing she deciphered several of the dances from Playford’s Dancing Master, harmonised the tunes, added the appropriate steps from her collaborator’s knowledge of dancing, and began to give public performances of the dances in London and different parts of the country. No one who has ever seen these pupils of hers, with their beautiful, old-fashioned dresses, dancing the old-world dances accompanied by a string quartette and oboe, will ever forget the charm of the performance. Miss Chaplin chose some of the most complicated of the dances for revival, and has made the dancing of them a real art. Some years later, Mr Cecil Sharp published a number of Playford’s tunes and dances which were performed by the young ladies of the South-Western Polytechnic, generally as illustrations of his lectures on folk-dancing. They are now given by the Folk-Dance Society at their performances. His method of giving the dances is different from Miss Chaplin’s, because his pupils, unlike hers, do not use any steps, but only give the figures with a walking or running step, which is the same in all the dances. Which method is best is purely a matter of taste.
Through Miss Chaplin, the Folk-Dance Society, and the Espérance Guild, the country dances are now once more danced by numbers of people all over the country, and it is to be hoped that they will never again recede between the covers of a dancing-master’s book.
The country dance tunes are often ballad tunes.
The tunes played to-day by country fiddlers are often found in early books of opera and printed collections of airs.
For instance, the tune of Tink-a-Tink, a country dance collected by Mr Sharp and published in Set II. of Country Dance Tunes, collected from Traditional Sources, is a song in the Opera “Bluebeard,” by Michael Kelly, published in 1799.
“The Butterfly” in Set I. of the same series is apparently a remembrance of the once popular “I’d be a Butterfly,” the words and melody by Thomas Haynes Bayly. It is included in many books of airs.
The tunes did not always gain by passing through the hands of the village musician.