Found where it is, it is certainly a remarkable phenomenon, this waltz. Look now at that young lady--how cold, formal, stately!--how she has been trained to act the little queen amongst her admirers and flatterers! See what a _reticence_ in all her demeanour. Even feminine curiosity, if not subdued, has been dissimulated; and though she notes every thing and every body, and can describe, when she returns home, the dress of half the ladies in the room, it is with an eye that seems to notice nothing. Her head has just been released from the hair-dresser, and every hair is elaborately adjusted. To the very holding of an enormous bouquet, "round as my shield," which of itself seems to forbid all thoughts of motion--every thing has been arranged and re-arranged. She sits like an alabaster figure; she speaks, it is true, and she smiles as she speaks; but evidently the smile and the speech have no natural connexion with one another; they co-exist, but they have both been quite separately studied, prepared, permitted. Well, the waltz strikes up, and at a word from that bowing gentleman, himself a piece of awful formality, this pale, slow, and graceful automaton has risen. Where is she now? She is gone--vanished--transformed. She is nowhere to be seen. But in her stead there is a breathless girl, with flushed cheeks, ringlets given to the wind, dress flying all abroad, spinning round the room, darting diagonally across it, whirling fast as her little feet can carry her--faster, faster--for it is her more powerful cavalier, who, holding her firmly by the waist, sustains and augments her speed. Perhaps some ingenious mind may discover a profound philosophy in all this; perhaps, by retaining this authorised outlet for the mere rage of movement, the rest of civilised life is better protected against any disturbance of that quietude of deportment which it is so essential to maintain.