‘Such are the classic lines upon which the dance is regulated, but how shall we describe its effect upon the dancers? The ardent melody, at once voluptuous and melancholy, the rapid clank of castañets, the melting enthusiasm of the dancers, the suppliant looks and gestures of their partners, the languorous grace and elegance of the impassioned movements--all give to the picture an irresistible attraction only to be appreciated to the full by Spaniards. They alone have the qualities necessary for the performance of their national dance; they alone have the special fire that inspires its movements with passion and with life.’ Noteworthy among the other Spanish folk-dances is _El Jaleo_, a wild and animated dance, consisting of acrobatic leaping and bounding, pirouet wheeling and fury-like fleeing and rushing. It needs a strong and experienced gypsy girl or a seasoned country dancer to give it its peculiar electrifying quality. _El Garrotin_ is described as a pantomimic dance, in which the gesture of the hands and arms plays a leading rôle. The Kinneys write that _La Farruca_ is an interesting folk-dance. ‘After one becomes accustomed to it sufficiently to be able to dominate one’s own delight and astonishment, one may look at it as a study of contrasts. Now the performers advance with undulation so slow, so subtle that the Saracenic coquetry of liquid arms and feline body is less seen than felt. Mystery of movement envelops their bodies like twilight. Of this perhaps eight measures, when--crash! Prestissimo! Like gatling-fire the volley of heel-tapping. The movements have become the eye-baffling darting of swallows. No preparation for the change, no crescendo nor accelerando; in the matter of abruptness one is reminded of some of the effects familiar in the playing of Hungarian orchestras.’ The _Cachucha_, _Tascara_ and _Zorongo_ are Spanish folk-dances of more or less local color. While the _Zorongo_ is a rapid dance, performed in backwards and forwards movements, the dancer beating time with his hands, the _Cachucha_ is danced by a single dancer of either sex, in triple time. Its steps are gay, graceful and impassionate, head and bust playing a conspicuous rôle. The _Tascara_ dance is more fantastic and symbolic than hardly any other of Spain. The movements are slow and languorous. It requires more backward curving and strange posing than agility and grace. In olden times Tascara was imagined as a dragon with an enormous mouth and fantastic wings. The slow movements of the dance grow gradually in speed and near the end the castañets strike, for without them a Spanish dancer seems to feel uneasy.