Twice round the clock; or, The hours of the day and night in LondonSala, George Augustus
General
Twice round the clock; or, The hours of the day and night in London
Sala, George Augustus
London (England) -- Social life and customs -- 19th century
I can’t help thinking (of course, on the fox and sour grapes principle),
whenever I see a very accomplished male dancer, as when I look upon a
first-rate amateur billiard-player, on the immense amount of time the man
must have wasted to acquire a useless and frivolous art. Yet I remember
the fox and the grapes, and suppress my rising sneer. Dancing to those
who like it, and can dance gracefully, is an innocent and cheerful
recreation. It does my heart good sometimes to see the little tiny
children in our crowded London courts and alleys waltzing and polkaing to
the Italian organ-grinder’s music; and I shall be sorry for the day when
some new Oliver Cromwell or Puritan government—we may have another in
time—may denounce and put down “public dancing and dancing academies.”
But why should the dancing academy column in the “Times” advertisements
possess more than general attractions for me? Is it that I have a
sneaking inclination to visit one of these establishments as a pupil;
take six private lessons from Miss Leonora Geary, or Mrs. Nicholas
Henderson—I could never dare to face Madame Mélanie Duval, or the
Semiramis of dancing mistresses, Madame Michau Adelaïde—study the
fashionable steps in secret, and then burst upon the world as an adept
in the _Schottische_, the _Cellarius_, and the _Deux Temps_? Alas! I do
not even know the names of the fashionable dances of the day, and very
probably those to which I have alluded are by this time old fashioned,
out of date, rococo, and pigtaily. But I have a theory that every man
must dance before he dies, and that of the choreographic art we may say
as of love—
“Whoe’er thou art, thy master see,
Who is, or was, or is to be.”
And I shall dance, I suppose, some of these days, although my nerves be
shrunk, my blood be cold, and hair white, and Death scrape away on the
fiddle, as in Hans Holbein’s shudder-giving panorama.
Mr. William M’Connell, however, the young gentleman who is my artistic
_fides achates_ in this horological undertaking, is, I am given to
understand, a complete master of this desirable accomplishment, and a
finished adept in its various mysteries. In this case, therefore, the
leader has become the led, and I am grateful to him for his service as
cicerone in introducing me to the domains of Terpsichore.
Public-domain text, read in full here on John Shaqi.
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