Public ledger. [volume] (Memphis, Tenn.) 1865-1893, 1882-06-10
Dancing the

1t was a pretty scene; toe rapid
movements Of the dancers in the gay
costumes, the picturesque background
of low sheds covered with the large
round leaves Of the melon, its tendrils
hanging in graceful f%estoons and its
golden fruit resting on the thatch.
We might have been witnessing a
Spanish saraband. The Hungarians
dance for their very lives. To them
the practice of the terpsichorean art is
no mere laDguid and graceful undula-
ton of the figure, but a perfect wild
abandon of mirth, and they whirl and
spin and girate with the velocity Of
dcrvishcs until their long black locks
stand out straight and their faces are
ablaze with heat and excitement.
Watch them as they perform the
csardas, their national dance, to the
wild harmony Of the czganok. Watch
them as they balance themselves
backward and forward while adapting
their subtle movements to the meas.
ure Of the animatiDg strains.
The csardas is essentially panto-
mimic, and describes by mute action
the unquiet course oftrue love" The
music is at first slow, and the couples
walk up and down the room together
in a stately manner; then, affecting to
have made each others acquaintance
and fallen victims to the tender pas
sion, the music grows more lively and
the courtship begins in earnest. The
lover advances toward his inamorata,
she coyly responds, and they spin
round together for a few seconds,
when, as if thinking she had given
him too much encouragement, the
maiden ~retircs poutiag, whereupon he
again approaches, but this time she
turns her back to him and dances of
in a contrary direction. Following
her, however, he overtakes and seizet
her around the waist, and away they
20 again, whirling deliciously, until
she can manage to extricate herself
from his grasp. Shy and friendly by
turns, now encouraging her partner
and now retreating with offended dig.
nifty, the lover at length becomes cha,
grined at her caprices, turns his bach
upon her, and they dance dos a dol
for awhile, with indignant gestures
till the maid, with signs of repen
lance, seeks reconciliation. The music
grows faster and faster, the lovers, il
the ecstasy Of reunion, whirl anC
whirl madly, nor DO they stop unit
both are quite giddy and out ofbrcatb
when. retiring from the scene another
couple takes their place and the per
Torrance begins again.
The csardas, ofcourse. varies slightly
in each instance, according to the 10
calitg and spirit OF the dancers. but thu
subject remains the same-loye, court
ship, jealousy, disappointment, reun
ion aud happiness ever after" Some.
times, in the closing scene, it winds VI
by the lover throwing himself on hi
knees before his mistress while she
dances around him in token Of hel
complete triumph, Several couples
are always occupied the same time il
this dance in one phase or other OF the
would. be courtsbip, while the mems
hats decorated with fresh flowers, the
women got up in the most c~oquettish
and picturesque costumes imaginable
the stamping of feet, clashipg of spur
and the wildly exciting strains of thC
gipsios, as they saw away wildly al
their v%iolins, all combine in render.
ing the csardas a most interesting ant
animating spectacle. Nor is it danced
only by the peasants. 1t is seen in th,
ball room Of the mobiles, even at thu
capital, where a gipsy band is Away
summoned 10 accompany it.