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The coquet immediately leaves off her work; and this pas-de-deux begins by all the little grimaces and false coyness that the coquette opposes to her acceptance of the nosegay, but which at the same time only the more betray the mind she has for it. The gardener keeps pressing her to receive it.
He shows her the head of a stag, which he has killed, and which is carried, as in triumph, upon a hunting-pole, by one of the hunters; and offers it, as the fruit of his chace, in homage to the goddess, who is presently appeased, and graciously receives his offering. These two lovers then express in a pas-de-deux, their mutual satisfaction.
A remarkable "dance" which I also saw, with the same bird as principal actor, seems to me another phase of the wooing, though I must say it resembled a war-dance as well; but love is so like war among the lower orders, even of men, that it is hard to distinguish between them. I shall not try to decide, only to relate, and, I beg to say, without the smallest exaggeration. The dances I saw were strictly pas-de-deux, and they always began by a flash of wings and two birds alighting on the grass, about a foot apart. Both instantly drew themselves up perfectly erect, tail elevated at an angle of forty-five degrees, and wings held straight down at the sides. Then followed a most droll dance. Number one stood like a statue, while number two pranced around, with short, mincing steps and dainty little hops which did not advance him an inch; first he passed down the right, then turned and went down the left, all in the queer, unnatural manner of short hops and steps, and holding himself rigidly erect, while number one always faced the dancer, whichever way he turned. After a few moments of this movement, number one decided to participate, and when his partner moved to the right he did the same; to the left he still accompanied him, always facing, and maintaining the exact distance from him. Then number two described a circle around number one, who turned to face him with short hops where he stood. Next followed a chassé of both birds to the right; then a separation, one dancing to the right and the other to the left, always facing, and always slowly and with dignity. This stately minuet they kept up for some time, and appeared so much like a pair of old-fashioned human dancers that when, on one occasion, number two varied the performance by a spring over the head of his partner, I was startled, as if an old gentleman had suddenly hopped over the head of the grand dame his vis-
It is easy to conceive, that the composer of this music will, in the airs made for the pas-de-deux, and pas-de-trois, pay attention to the different affections that are to be characterised by the dance.
The way in which they dance; the height to which they spring; the impossible and inhuman extent to which they pirouette; the revelation of their preposterous legs; the coming down with a pause, on the very tips of their toes, when the music requires it; the gentleman's retiring up, when it is the lady's turn; and the lady's retiring up, when it is the gentleman's turn; the final passion of a pas-de-deux; and the going off with a bound!
He stops her, and entreats her forgiveness with an air so moving and penetrated, that, little by little, she is disarmed of her anger, and pardons him, in sign of which she gives him her hand. There is no need of specifying here what the dance in action, accompanied by the music, should express in this pas-de-deux; it is too obvious.
"Then handing you backwards to the top of the stage, you will begin gaily a Pas-de-deux, or Duet dance. The first part will be lively, the second grave; the third a jig. You will have taken care to procure six or seven of the best airs for a dance, put together, that can be imagined. You will execute all the steps that you are mistress of; and let your character in the Pas-de-deux, be that of a country wench, a
My mother related to me, when I was a little lad and used to burrow in her carved oak treasure chest and beg for stories of the articles it contained, many fascinating tales of those two school years, a pretty colour coming to her cheeks as she told of the dances learned together, pas-de-deux and minuet, from old 'Doctor' Shaffer, who was at the time second violin of the Boston Theatre, as well as authority in the correct methods of bowing and courtesying for gentlewomen.
The Graces, the nimphs, and hunters, express how highly they are charmed at seeing Adonis again; Venus and Adonis form a pas-de-deux, or duet-dance, in which the Goddess takes off her girdle or cestus, and puts it upon Adonis, in the way of a shoulder-belt, or as now the ribbons of most orders of knight-hood are worn, which is to him a simbol of immortality.
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