The crowd of dancers was a heterogeneous one. There were young men from the neighboring county town, gorgeous in blazers of variegated colors, and young farmers whose movements were not the less agile for the reason that they wore heavy sombre clothing and high-crowned, broad-brimmed felt hats. There were three particularly forward youths in bicycle attire, and three gay young men from a not far distant city, whose shining silk hats and dancing pumps made them centers of admiration and envy. The women, likewise, went to both extremes. Gaily flowered, airy calico, cashmere and gingham bobbed about among glistening, frigid satins and silks. “Oh, ain’t it grand?” cried Mary Kuchenbach, clasping her hands. “That’s good dancin’, I tell ye,” replied her companion with enthusiasm. She had seated herself on a stump, and he was leaning against a tree at her side, both with eyes fixed on the platform. Now in seemingly inextricable chaos; now in perfectly orderly form, six sets bowing and scraping; now winding into a dazzling mass of silk, calico, high hats, felt hats, flower-covered bonnets and blazers, then out again went the dancers. “Good dancin’, I should say!” William exclaimed. “Jest look at them th’ee ceety fellys, with them shiny hats, a-swingin’ corners. Now, a’n’t they cuttin’ it? Next comes ‘a-la-man-all.’ Watch ’em--them two in the fur set--the way they th’ow their feet--the gal in pink with the felly in short pants an’ a stripped coat. Now back! Thet there is dancin’, I tell ye, Mary! ‘Gents dozy-dough’ next. Thet ’ere felly don’t call figgers loud ’nough. There they goes--bad in the rear set--thet’s better. See them ceety fellys agin, swingin’ partners. Grand chain! Good all ’round--no--there’s a break. See thet girl in blue sating--she turned too soon. Thet’s better. T’other way--bow yer corners--now yer own. What! so soon? Why, they otter kep’ it up.” The music had stopped. The dancers, panting from their exertions, mopping and fanning, left the platform and scattered among the audience. William Larker’s eyes were aglow. His companion, seated upon the stump, gazed curiously, timidly, at the gay crowd about her, while he stood frigidly beside her mentally picturing the pleasure to come. He was to dance to real music with a flesh-and-blood partner after all those years of secret practise with a wheat sheaf in the seclusion of his father’s barn. He was to put his arms around Mary Kuchenbach. His feet could hardly keep still when a purely imaginary air floated through his brain and he fancied himself “dozy-doughing” and “goin’-a-visitin’” with the rosy girl at his side. The man with the bass-viol was rubbing resin on his bow, the violinist was tuning up and the cornetist giving the stops of his instrument the usual preliminary exercise when the floor-master announced the next dance. One after another the couples sifted from the crowd and clambered on to the platform. “Two more pair,” cried the conductor.