The star. (Reynoldsville, Pa.) 1892-1946, 1905-07-26

lie relates how the mornings, when
had hitherto been dedicated to loung-
ing IN the park, were now absorbed at
home in practicing the figures Of
French quadrille or whirling chair
round the room to learn the step and
measure of the German waltz.
1t was danced at Almack's by few
very bold spirits, notably Lord Palmer
ston, Nine. de Lieven, Princess Ester
hazy and Baron Neumann, and thus
became matter of exhibition, the
whole company standing on benches to
view the performance.
However, the antiwaltzing party took
the alarm and cried it down. Mothers
forbade it, and every ballroom became
q scene of feud and contention. How
profound was It's unpopularlty in GER
tain quarters is proved by the pasqui-
nades leveled against it. The famous
seven lines commencing
"whatl The girl adore by another en-
braced!'
are commonly attributed to Byron,
though they were published anony-
mously In 1912, and some authorities
give Thomas Moore as the author. An
impromptu purporting to be addressed
by an indignant lover to his betrothed
and her partner echoes Byron's feel
ings:
You've brushed the bloom from the
peach
From the rose its soft hue;
What you've touched you may take.
Pretty waltzer, adieu.
Another poet delivered himself Of the
following diatribe:
How arts improve in this inspiring age!
Peers mount the box, and horses tread the
stage,
While waltzing females, with unblushing
face,
Disdain to dance but in a mans en-
brace.
"The waltz, however" continues
Raikes, struggled successfully through
all its difficulties. Flaurhault, who was
ia fieur du pois' in Paris, came over
and with host Of others drove the
prudes into their intrenchments. And
when the Emperor Alexander was seen
waltzing around the roof ut Almacks,
with his tight uniform and numerous
decorations, they surrendered at discre-
ton"
1t is a moot point whether the waltz
originated in France or Germany,
whether it came from the French La
Volta" or the German national dance,
the Lander" According to French
authorities, La Volta was simply the
waltz trois temps. Provence was its
birthplace, and 1t was first introduced
at the court of Henry II. at Fontaine-
bleau in 1855 by the Comte de Saulte,
who is said to have invented it, for
many called it La Volta de Saulte and
the name is suitable both because Of
the etymology of the word and the
character of the dance.
1t enjoyed a great run throughout
France and even penetrated to Scot
land, where it met with furious opposi-
tion, one writer averring that its i'm
portation into France had been effect
ed by the power of witches. Mary Stu
art once exhibited her agility in this
dance, but she was careful not to re-
peat the experiment, and this was
about the last heard Of it.
The case for Germany is that the
first waltz tune appeared in 1910 in a
popular song called 30 du leber Au-
gustin." From Germany the dance
made its way to Vienna and was intro
luced into the opera, while by and by
1t found its way to France, whence it
came to England-"the insidious waltz,
this imp of Germany, brought up in
France"
The waltz when first danced in Lon
lon was a slow movement a trois
temps, and the early English waltz
compositions were very poor. Strauss
came to London in 1887 to play at Al
mack's, and his waltz music created a
perfect furore. 1t killed the old trois
temps waltz, and the deux temps
usurped its place. Now that the fasci-
nation of the waltz Is all powerful, 1t Is
difficult TO realize the commotion its in
PRODUCTION caused..-London Globe.