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B , 9 THE SUN, SUNDAY, JULY 12, 196. . B
Hkv BOKM KBIT BOOKS.
Bt
Pt la aet.a aa Mo4.ra Tlaa.a.
f.ln To volum of th "Badminton Library of
) BporU and Pastime" which li devoted to .Dan-
;' Mno bn prepared by Mrs. Lilm Gnova.
t aatlsUd by a oorp. of writer (London t Look
Hi man, Oreen A CoJ. That this book ha re.
HN quired a great deal of research and apodal
Km knowledge will b. manifest when we point ont
Tg that ita chapter! deal with subjects eorarloni
!" a th dance of antiquity and the dances of
Iw savages; the dance In England, Scotland, Ire-
Mf-' 'land, and Wales: gypsy, Hungarian, Bohemian,
( Russian, and Polish dances; the danog In
It?. Franoe, Germany, Italy, and Spain; and, final-
? If. thedano.sof th.East. Weahall hera oon-
L fine onnelv.s to some of the Interesting faots
llir collected by Mr. Grove and her ooadjutorscon-
: 1, earning th. dance of antiquity and tho East
J If and thedanoesof the gypsies, the Hungarians,
f f Ja the Poles, the Italians, and the Spaniards.
I'i
', . cncltnt Egypt dancing was a necessary
iSJ part of arerr religions celebration, and, oonse-
f qaenllr.it la not surprising to find numerous
representations of the art on early Egyptian
monuments. The Egyptian dances whloh
strike ns aa most curious were thuso performed
Ar In honor or the dead. On the so-called Feast of
Eternity the procession In which tho Image of
. ' the deceased was carried w as genrrnllr led by
;. dancers. Their movements were slow, nicas
'$ tired, and gliding; the arms were raised above
',)'-' the head, the palms turned outward. Certain
V women with grease-besmeared heads covered
fl' with ashes, tearing only their eyes and mouths
'Jjl' conspicuous, performed a contorted and con-
HI rulslre dance. It consisted of strange twist-
;. lngs and slow, well. balanced steps, the dnucers
V keeping their eyes half closed. In Kgyot
f tho dancing women woro callod Awalln wlso
'I or learned a circumstance Indicating that
R the art had orl.lnollv a higher purpose than
a-' the mere amusement of the spectators. The
J) girls, however, whodunced nt a later period, like
A those of the East In our own day, were not
& lookod upon as paragons of virtue. They wore
S,' long, transparent gnu ns, and bent drums or caa
ffs tanets In quick time. Many of their postures
't ' resembled those of the modern ballet. Thus
Wilkinson points out that the pirouette de-
j, ligbtrd an Egjptlan pnrtr upward of n.fi.io
4 yenra aco. The Egyptians forbnde those of the
higher classes to learn to dnnre as an nccotn
K pllshment. Bv permitting professional dancer
J to be lulroduccrt Into their assemblies they
a sanctioned nil the dIerslon which was supposed
,y to bo attainable without a compromise of dlg
A nlty. Slavrs were Inught dancing, for It was
part of their duty to entertain their masters,
.. and free Egyptians of a low class made It their
M profession.
f The fact that most dances In Biblical history
je were executed by women explains. It Is suggest-
ylC' ed. Income raeauro Michel's sneer at David's
ll(ij leading the Procession of the Ark with n strongly
fi accented dance. Itlnntunpnfiltliallhe King
i went through et figures with precise ttep, but
that he ran nnd skipped In the maunerof achlld
i dsnclng with Joy. He had laid nslde his royal
, purple, ami put on a plain linen enhod, which
twas light nnd suitable for the dance Mlcli.l,
who was not religiously minded, did not share
T David's transports, and thought that her hus-
-f. band's behavior lacked dignity. She chose,
& perhaps, to see In her husband's vlgorons leaps
ft some Impulse different from the religious one,
which would frc his Ixidv from earth and
iF, bear It townrd heaven. To her cruel ur-
'A braiding, vhlch was not reserved for bis
yj- private ear, he replied gently that, by bis
j dance, he bail, purposed to honor God. It
'$, Is to bo understood tbat, in the ancient
S Jewish rites, men and women danced
uj fn separate croups. Tho only promiscuous
Jjj dance was or the kind performed by the Chll-
y' tren of Israel around the Golden Calf, which
fw was not Uebrew In origin, but Idolatrous, pos-
fit slbly orgiastic. Occasions for dancing were t at-
l'" T w- tl,8hrd ? domestic festivals. Thus the I)augh
E 9 - SVl ters or Shlloh were dancing on an annual feast
?"' when the Children of Benjamin snrprlsed them,
'& and carried nway each man a wife to himself
jffi "of them that dan?ed." Only the virgins
danced. In the Book of Judges, there Is ths
familiar example of Jephthnb's daughter, who
f Was dancing Joyously when she met her fate.
'ft The subject of Kalome dancing before Herod
, has Inspired a great many artists. Irael von
I. Menecken has a striking picture upon the sub-
' U Ject, an engraving or which Is printed In this
; V: Tolume. Anold version of the Bible says Salome
taulttiU and. In mediaeval pictures, she Is repre-
It tented as walking on her hands.
ih Although the Greeks can lay no claim to be
,,Vi originator in this particular, their dances are
jjfl.,' mora worthy or consideration than those or
th races to whom we are less directly Indebted for
j- our art. Their dancing, moreover, must have
i been more express e, gay, and varied than that
1 or Egypt. Tbo Greek love ot symmetry, order,
I and regularity went together with reverence for
the dignity and perfection of the human form.
!, Luclan. who wrote a treatise upon dancing, as-
sorted that In no other art Is so great an activity
- of mind and body required. Tho root-idea had,
as it were, to permeate the v, hole body, and nil
f the limbs wer to translate the mental motion
a by expressive movement. Dancing and slng-
ing were, therefore, wedded; step and
V feature were Interwoven with poetry; and
J every accentuation of verso was accompa-
H tiled by a step In the orchentrlo represents.
JV)j' tlon. With the ancient Greeks the dance.
rjj, even In It narronest sense. Included the whole
.fC rt of gesture. Arms and hands. Indeed, were
' r ' more important than feou Dancers In Greece
were called chefrosyphi. skilled with tho hands,
and number and cadence throbbed In every one
3 of their exercises. Cit Ironomln, or tho art of
I speaking from afar bv menns of hand gestures,
I was as capital a feature of the classla Hellenic
J dance as It Is of tho modern mime. Atlieiifcus
J K tails us of a dancer wno was so skilled In
) thtirononHa that he represented In a dance the
1$ "Boven before Thebes " Primarily, of course,
I fr- th dance, In Grerre, was a form of worship and
Yfe a branch of education: but, from Its religious
i?' origin, it soon penetrated every-day life,
forming a part of all merrymaking, and,
. ' from Us Introduction Into the drama, at-
I . talned perfection and rose to art. There
i were warlike dances In Greece long befuro
By I the time of I'yrrlius; Indeed, the dance which
came to be called Pyrrhic was properly a
Dorian gymnastic dance, which, by the laws of
ijl Sparta, every child over five had to learn.
'. Originally performed by men only, it developed
1 into a mixed dance, and eventually a femule
I partner for each exeuutunt was added. The
B learned Scallger pretended to be able to rrpro-
V duos a Pyrrhlo dance, and actually performed
one in full costume before .Maximilian I much
fn to that Kmpoinr's astoulnhmeut. In Sparta
it JJ girls danced with one knee bared. In honor of
I'll Athene. In the Greek dramatis dance are to
VII do found the geruis of the Homaii and Greek
Si) pantomime, corrvtponding to our ballet. Apu-
JsVl lelas describes a pantomimic ballet at Corinth
ill wnluh resembled that of our own day. Of the
! IH dances of tuodtrn Grevce many have been
'jj found by reoent travellers to correspond with
r, 3R those of ancient times. In Crete especially,
where old ouatoms have lingered, the ancient
i V dances are still popular.
& M All tho dunces performed In Borne In honor of
Rl thr deltlui originated In the Snllan dance, prae-
fl tlsidb. the twelve prieslsof Mars. Later on,
'M th uumans borrowed not only the gods of
T;' Greece, but the dances, and, thus absorbed into
Y the Koman mind through Its use In religious
' worship, the dance made Its way into the pro-
,'jjs fano life of the Uly, In the tiino of Augustus
"IHk. danolng was Introduced into the theatre, and It Is
I Jn said that at this period there were no fewer tnan
I' 1 0,000 foreign women dancers In Home, Luclan
UJ ( relate that the pautomlme dancers carried the
I art to an Incredible perfeotlon In the Imperial
i City. The rtoman panuimtmlo dance, nowever,
m was not a dance In our sense of the word; It
H consisted mainly of expressive rhythmical move-
H menu ot head and hand, though It would be a
H mistake to suppose tbat the rest of the body was
H Immovable. Under the earlier L'mara the most
cultured persons In Borne practised the art of
I dancing, and a dancing master was a member
T of every patrli Ian household, beneca called the
AM fashion a regular disease. All young girls were
II V 4ushmulo and dancing, not only steps, but
1L . ?
th art of morlae; th uppsr body and th arm
with perfect srrao. A noble gait a well a a
softTolo was thought an excellent thing In
woman. An epitaph of th time of the repub
llorani "Bo was of gentle speech and ot noble
gait."
ill.
We pass to th dances of th East, under
whloh term are here comprehended India,
Persia, China, and Japan. Throughout south
ern and eastern Asia dancing la performed by
professional hired women or boys, who go
through their evolutions In order to afford
ptrasuro to the spectator. There aro very few
steps, and the movements are mainly from tho
waist upward. But the bayaderes and nantobeea
of India are truo dancers, every part of their
body lending Itself to some expression. In Bom
bay, the Aslatio Capua, the dancing women,
with their lithe figures and languid eyes, recall
tho beautiful women of Greece, When a nautch
tal es place the young women appear with bar
feet. The nautchees sing while they dance.
They mostly express tbo passion of love. In all
Its phasss and vicissitudes, joy and fear, hope
and Jealousy, fury and delight; every look,
every attitude, every arm movement has
been stndled, and exquisitely mlmlos the
storr. The nautchees soon tire of their ex
ertions, and generally several sets are hired
for an entertainment to relievo one another.
While they go through their gyrations the
guests recline at their ease on couches, propped
up with cushions, eating sweetmeats and drink
ing wine. Men also danco In India. They are
called eaphnx and aro between 18 and 20 years
old. As with the bayaderes, tholr performances
consist of graceful poses and scarf movements,
and they are dressed In magnificent costumes.
We are told that the nautchees resort to every
artifice to enhance and to preserve thclrbeauty.
In Persia dancing girls were numerous until
the reigning family ascended the throne; at
present tbo dance Is given up to women of low
condition and of slack morality and to roung
boys dressed a women. Early Persian poet
celebrnto the beauty of the dancing girls and
the charm of their voices: but In the Persia of
our day, as in Scotland, the reformed religion of
the country has endeavored not only to suppress
the pastime, but also to forbid any record of It.
Some of the highest contemporary authorities
deny the existence of dancing In China, except
as performed In the theatre and as executed by
professional women or boys for the pleasure uf
mandarins. Irrefragable evidence, however, to
the contrary Is forthcoming from accounts ot
English Ambassadors and of French and Brit
ish missionaries. In China music and dancing
aro still Intimately connected. Tbo dancer ac
companies himself by voice or Instrument; the
music master Is also the dancing master; the
art of gesture and of posture Is Included In the
term dance. Chinese dancing Is not a mere
gyration, but a pantomime, amlmlo representa
tion of feelings grave or amorous. The most
ancient dances of China were deplctments
of the themes of dally life, the labors
of the field, the pleasures of har
vest, and the toils of war. Under the
present dyna-ty military dances have been
abolished, and there remain only thirty-six
different clvlo dances. Ritual dances are per
formed In the temples of agriculture and In
those of ancestors, special days being appointed
for the worship of tho spirit of Confucius and
other departed sages. The dance In China also
takes the form of an act of homage to the sov
ereign. Special mandarins are designated for
this performance. They dance before the Em
peror with graceful and dignified mien and
with precis movements; then they salute and
retire. Some of the Emperors themsblves have
not disdained the study of the dance or Its
public exhibition. In 1710 the sun of the Em
peror danced before bis father and th as
sembled court.
The conjunction of many qualities Is required
for a Japanese dancing girl or malm; she must
be young, beautiful, gracefnl, musical, and
wlttr. Dancer and singer are one. When the
mnten has lost the first blush of youtb, she
makes room for others, becomes a gelsba girl,
and accompanies the dancers, thrumming and
chanting the tune of the m eldy. A malco
moves very slowly and In gliding fashion: ah
Is, above all, an artist In posturing, and sho con
tinually changes from one perfect pose to an
other. She wears very elaborate gowns, blue or
red, embroldored with maple leaves, roses, or
pretty devices. The sash is of rich brocade,
and In her Jet black balr flowers are
never wanting. As a rule, the m cleat
form groups of four, posing, gliding,
twisting, turning, and moving a perfect
kaleidoscope of colors before the specta
tors, who recline against bolsters and on mats,
and who are fanned by girls whose mission It Is
to converse agreeably; others bring In refresh
ments. Ices, fruits, and wine. What Is surpris
ing In a Japanese malco Is the wonderful con
trol she has over her facial and other muscles.
She appears to be able to move them at will,
independently of one another; for instance, she
will move her ears or the small muscles of her
nose with absolute esse. Altogether, the beau
tiful matevi. In their handsome gowns, perform
some of tbo most pleasing dances In tbe world,
and furnish a harmonious and artistic feast for
eyes and ears. Men seldom dance In Japan,
except to show off raise chorgernphlc agility
usually Inspired by tho fumes or sakl: but they
take a part In the circular dances which belong
to the family reunions. ,
Nobody would venture to assert that all the
deliberately cultivated profligate dancing of the
world Is of Indo-Perslan or Egyptian origin, but
It Is curious to note tbat the dances of Persia
are said to hare been originated by 10,000 gyp
sies sent from India. Spanish dancing girls of
old times were conjectured to have come from
the Hindoo. Itomany stock. Perhaps in no
country do the gypsies contribute so much to
the general amusement as In Russia. A visitor
to St. Petersburg or Moscow Is bound to witness
the famous entertainment afforded by an even
ing spent In the gypsy camp. It Is not to be
Imagined, however, that one finds here the gen
uine child nf nature; according to Llazt, the
dangerous and deadly sirens are made up for
show. The genuineness tbat Liszt denied to the
Mosoow gypsies ho discovered among the Hun
garians. The Hungarian Tzigane Is admittedly
inoro Intensely gypsy than any other variety.
Ills musical feeling Is, on the whole, more
original, although In one Instance, that
of the Csnrdas, he has been convicted
of borrowing from the art of tbe coun
try with which be Is most Intimately
associated. At the same time, though the
dance of the Csardas has been proved to be
Hungarian, the gypsloa play the muslo of It
better than any one else. In practice, the Csar
das dependa upon the gypsy accompaniment.
"No entertainment without the gypsits," nays
tbe proverb, and this Is acted ou In Hungary by
peasant and prince alike. The young gypsy
girls of Hungary are said to be wonderful dan
cers. They dance like the fawns In the forest,
like the birds In the trees, with all tbe light
heartedneis and carelosinesa ot untamed things.
Whatever their faults may be, they are norer
i banal, and, ns they whirl about in their multi
colored gowns, which bear traces of tbe dust of
many a road, they bring with them a vlalon of
far-off caravans, of wandering bolngs who come
we know not whence, and who go we know not
whither, but wbo charm and fascinate with
their beautiful eyes, their splendid II us, their
raven tresses, and their lithe, pliable figures.
Those who know the Iberian peninsula are
aware that Seville Is tbe headquarters nf the
Spanish gypsy musicians and dancers. There
one may witness tbe Horn alii, which Is tbe
dance Tiberius may havoseen, which no one
but a gypsy dances In Spain. She will dance It
to hand clapping, and to an old, religious. East
ern tune, low and melancholy, diatonic, not
chromatic, and full of sudden pauses which are
strange and startling. It la not to be presumed,
however, tbat tbe dancing Spanish gypsy Is
romantlo; not In her will tbe reader of Longfel
low's "Spanish Student" find antelope eies,
black torrent of overflowing balr, the speaking
fringe of erelash.a serpentine waist, fairy feet,
and a moonlight voice. She has, on tbe con
trary, ropy black balr; she is stout and thick
set, tbe reverse of a sylph; no harebell would
lift bis bead again It her strong foot one fell
on It. In a word, the vUana Is disenchanting.
Wo have said tbat tho gypales of Hungary
borrowed the Ctarint from th Hungarians, of
whom It 1 the principal dance,' Th Oatiat
ha much altered In our century: th majestlo
mood of the ancient dance ha been developed
into a movement better suited to a feverish
generation. It begins with a slow and solemn
walk, after whloh the dancer places his lady In
' position. After several more enUof a compli
cated natnre. and sometimes wltb a very mel
ancholy accompaniment, the dance become
more and more animated, endlug In a mad
whirl. The heroic features of the dance are re
lieved by tender and subtle passages. By de
grees tbe rhythm quickens and becomes rugged
and abrupt. A contagious fire seems to thrill
the dancers: they seek and dee. grasp and elude
each other, until delirium seizes the fervent
souls, sucked Into the whirlwind of the mad
muslo adellrlum which culminates In a wild
cry of fury and dollght that breaks forth now
and again from the lips ot the dancer, be ho
prince or peasant,
V.
The Slavs, and especially the Poles and the
Czechs, are great votaries or the dance; as
early as the sixth century or our era Greek
writers descant upon the dances or Slavonlo na
tions. Those of Poland are tho most poetic,
those of Bohemia tho most numerous and
varied. Among the Czechs no baptism, no mar
riage, no funeral, no harvest. Is without Its fit
ting dance. A youth who Is unskilled In the art
finds little favor with the women. Again, tho
festivities of Bohemian villages gtvo occasion
for the display of finery, the men wear em
broidered shirts, velvet waistcoats with silver
buttons, and splendidly colored handkerchiefs
fastened to the belt, whence they flutter like
flags. The effeot of th muslo Is heightened by
loud shouts, jokes, and snapping of the fingers.
As might be expected from their warlike na
ture, one of the earliest dances of the Bohe
mians was a sword danco, such as was described
by Tacitus as seen In Germanla. It Is known,
also, that the Czechs ued religious dances In
the highest degree appropriate to their mstlo
polytheism. Formerly they danced to songs,
Insti-ad of to Instruments, and theso songs were
always extemporized, a custom continuing to
the early days of our century. Like the folk
song, tho folk danco was a mirror of the
strength and Independence of the people. The
dances of Bohemia are named either from the
accompanying song, the mothe illustrated by
the steps and gestures, or tbe place where they
originate. To tho polka belongs tho first place
In Importance, U nut In time, or all Bohemian
dances. It Is said to be a modern production,
although similar measures must have been
common to many rncoa from earlier times. At
auy rate, the peculiar half step made
Its appcaranco In the happiest circum
stances, when a certain Bohemian peas
ant girl danced It "out of her own head"
more or less; extemporizing for her own recrea
tion song, tune, and step; and all, fortunately,
under tbe observation of an artist, Josef
Meruds, On the spot (It was Elbelnlnitz) and
at the moment (a Sunday afternoon) he noted
down th melody and dance. It was Introduced
at Prague almost Immediately (1835) and at
Vienna, where the dance was enthusiastically
received. In 1840, a dancing master or Prague
gave the polka on the ttage at the Odlon in
Paris with brilliant success. Like wildfire. It
spread throughout Europe, and crossed tho
ocean to New York, In England, tbe polka
mania was short-lived, but so violent that, for
tbe hour, everything was named after the
dance. Clothes, coiffures, nay, even public
bouses. The dance was seen In perfection at
the opera, where Perrot and CarlottaGrlsl, at
tired In tbe picturesque Slavonic dro--.s, executed
the wonderful step.
The beautiful national dances or the Poles are
known all over tbe world; tbe graceful i'oto
mitse. the bold .Vurourfca. the Ingenious Oarwt
enne, belong to prlnco und peasant alike. For
merly their dancing was accompanied by sing
ing Instead or Instrumental uauklc. The same
qualities whlcn make tbo Poles so remarkable
as linguists lend themselves to tbe cultivation
of the aaltatorlal aru Wbon one sees a Polish
woman dancing one Is reminded of Balzac's
sketch of her: "Angel through love: demon
through fantasy: child through faith; sage
through experience; man through the brain;
woman throogh the heart: giant through hope;
mother through sorrow; poet through dreams."
The polonaise Is more of a orocesslon than a
dance, and not many years ago It waa still per
formed with weapons. Originally pertaining to
tbe court. It has been In somo measure adopted
by the people In the form of a march.
ir the PoIoruifM reflects tho spirit or the old
Polish aristocracy, the Mazurka mirrors the
popular mind. It dales from tbe sixteenth cen
tury, and Is usually performed by six or eight
couples. Tbe music originated In an old Christ
mas tune, but Chopin introduced new features
Into the dance, transfusing It with melancholy.
The Maturka Is thus described In Grove's Dic
tionary or Music: "The couple follow their
leader, turning from right In left and describ
ing a circle or oval ring. The woman some
times dances round her partner and sometimes
the latter dances around her; a song Is often
sung at tbe same time. The wild and romping
natnre of the dance Is Indicated bv Us titlo,
which means 'turning round,' and, Inferential
ly, perplexity or confusion." The Jfr-iikuinnfc
(CYacocfeiinei Is a circular dance accompa
nied by songs Improvised at tho mo
ment when the dancers pause after a
round. The man of the first couple has to
start this song, which may be either flattering
or depreciatory of his partner. The danco is
enlivened by tbe clink of Iron-bound boots and
of the brass or silver rings on tbe performer's
belt. In Paris, and subsequently In New York,
the Craeovienne was danced by Fannie Ellsler.
Dancing In modern Russian society is very
much like that of other countries, except that
In Bussla the ball alwnys ends with a Polish
mazurka, of wulch tbe rhythm and the step are
k no. vn everywhere, but not the figures and
general character. It may be noted tbat In a
Russian ballroom a lady la never engaged for
an entire waltz or polka, but for one, or, at
most, two turns about the room. The Russians,
it seems, hate a special waits, light and grace
ful In character, called the CanOtca. A ball Is
always opened with a polonaise.
VI.
If dancing be considered as an art, there is no
doubt that it is French; no other nation has
brought It to such a pitch of taste and delicacy,
French dancing has been divided Into the
"Danse Basse" and the "Dsnse Haute." In
the sixteenth century, these dlvUIons were
rigorously maintained. The Danse Basse was
very grave, and consisted of gliding stops; at
the court of Charles IX. It was performed to the
accomplishment or psalms. The Danses Basses
were also, and appropriately, called Danses
Nobles on account or the dignity observed In
their performance, and also because the per
formers belonged to the court circle. The other
dances, of a skipping kind, were then mostly
executed by clowns and mimes. In an Interest
Inr book on dancing written In 16HH. we
are told that "dancing Is practised In
order to see whether lovers are healthy, and
suitable to wed one another; at the end of the
dance the gentlemen ore permitted to kiss their
rnltrose In order tbat tbey may ascertain If
they have agreeablo breaths. There Is no doubt
that, under the Vatols, the lnfluonce or French
dancing mode Itself felt In all European courts,
and from the higher circles permeated the
habits of all sorts and conditions of men.
The Wranlr, which later on In England became
the brawl, was In S.tline, a great accomplish
ment In connection with It being the rddt ruWir,
or cow's kick, a tort of jerk performed with the
leg, A man nkllleu In this accomplishment was
a sort of hern In the sixteenth century. This
dance was susceptible of great variety; every
protiuce had Its own bianle. There were bran
It tnlmlt, such as the Ilranle Act lanmtltlru.
where the movement of washing olothes was
Imitated by hand gestures, and tbe Xfranls titt
trmUa, for which monks' attire was donned.
The present (ronde and gamo "Sur Is Pont
& Avignon" Is a survival of this danoe, which
was given in two filet, tbe performer crossing
tbelr bands over the chest and bowing in ca
dence. Real dramatic talent waa required for
these sixteenth century dances, A famous ex
ample of these braulu mimd was the llranlt aa
Fiambeaiu, In which Queen Marguerite ot
Valols was thought to danca exquisitely. Bran-
2;
torn praises her danolng. and calls her " La plus
tuave dame du monde." and Ronsard describe
her a one who "d bondi leatrt rolatt parro V
to $alle." These dance with lighted torches,
were performed In varlona way. Sometimes
a gentleman stepped forward with a lighted
taper or torch, capered once or twice around
the room, then chose a lady, danced with her a
moment, gave her tho torch, and returned to
his seat. The tody then Invltsd a gentleman to
dance with her, handed blm the torch, and th
pantomime was repeated. Sometimes each
dancer held a. long lighted taper In bis hand,
and tried to blow out his neighbor' taper,
while protecting his own from a similar fate.
Tho fnurttton, with whloh the branlet con
cluded, had a livelier rhythm. The fotirdlon
Is the same as the oaWardt, only tbat the tatter
Is danced with Jumping steps, while In tho
former one glided. -A celebrated oaUardwaa
the one railed "Si jt tViime ou non," In which
there was much kicking and skipping. To
excel In some of th steps of the gaillanlt was
looked upon as an accomplishment equal to
that ot riding or fencing. Another was tbe
" Hattont-nnus btUt," the most popular of all;
"for," observes a sixteenth oentnry writer,
"we may conjecture that tho dancers found It
agreeable, aa It Introduced a pleasant varia
tion." The pavans wo ot disputed origin, but seems
to have been essentially a French danre. It was
performed In slow time .by one or two couples,
sometimes by two dtmnUelJti alone. The steps
were simple, and wer called advancing and re
treating. In retreating the gentlemen walked
behind tho ladles, who led them by the hand.
In one figure the gentlemen alone capired back
ward and forward before their ladles, and the
conclusion was a "conversion" or turn with
them. Then one or the gentlemen advanced
alone, and, describing a slight curve In the mid
dle or tho ballroom, went "en e jxirnikint"
(strnttlng llko a peacock) to ralulo the lady
offered to blm, after which, taking some back
ward steps, ho regained his' place. Tho parnne
was sometimes called "leoritm! bat " becauso It
waiused on State occasions. It was a solemn Hnd
majestlcdnnce, accompanied bysongf.wlth haut
boys, while drums accentuated the rhythm. The
pmYine. accompanied by song, during which the
performers kissed each other, has lett survlals
In many countries. There Is a sixteenth cen
tury air In which a trill on th musical Instru
msnt Indicates that It Is tho moment to give the
salute. Sometimes, In a country gathering. In
the midst of a quadrille, tho signal Is abruptly
given, causing much amusement. George Sand
ha described such a scene, as also has Swin
burne. The Couranf was performed on tiptoe,
with enrved and slightly Jumping steps. It has
been supposed by some to be the parent of the
waltz. The Mtntut (minuet) was thus railed
becauss of its small step. It was derived
from the eouran'e. When a pupil knew the
steps of the entrante well, when he
could turn his feet properly and nontrol
his movement, he was Initiated Into the
imsterlea or the graceful and ceremonious
meniift. which took three months to learn, and
of which there were endless varieties. The tre
mciiuct was simple, dignified, nohle, and grace
ful. A beautiful woman dancing the meas
ure turned the heads of all onlookers. It was
Introduced at Paris In 1050, and set to music
by Lull! in 1053. It Is well known that Louis
XIV. did the composer the honor of dancing It
In public. Tbe best Idea of the Importance of
dancing at tho court uf that sovereign can be
gained from Moltcre. wbo says In the "lltmrgeoi
Oentilhnmtne," that the destiny of nations de
pends unon the art of dancing. Louts XIV.
ceased suddenly to dance at the age of
,17, some say becanse be was struck by
some verses in Racine's " Brltannlcus," In
which Nero's dancing proclivities are ridiculed.
It is largely owing to the mrmut that French
chorrsraphy has taken precedence of all other
forms. For a century and a hair every
state ball In Europe was opened with this
dance. Up to the beginning or this century the
Menuet tit la Cour was what the quadrille Is, or
ought to be, to ns. It Is hard now to compre
hend how seriously noblemen took Marcel's
famous words, " Que d thnt dans un menuet f
and how mnch the ladles looked down upon a
man wbo was not skilled In the measure.
Tbe Gavotte was originally a peasants' dance,
and take it nam from the OacoU, tbojnhabt
tants of Gap In Dauphlne. In the sixteenth
century the garotte was introduced in Paris,
and eventually was remodelled. Tbe oldest
description of It does not represent the dance In
Its modern form, nor are the figures conform
able to modern customs. One of tbe earlier
writers on the subject, for Instance, tells
a dancer not to lift his partner Into tbe air.
but only to kiss her while performing sundry
small leaping In 2-tlme. In tbe on-ntlt the
dancers stood In a row or circle, and, after a
few capers, a couple danced alone and saluted
earh other with a kiss. The lady then kissed
all the men In turn, her partner, at the same
time, kissing all the other ladles. When tbis
dance became modified It lost Its merry and os
culatory character, and became rather stiff and
affected. It was usual, at one time, to offer the
lady a posy Instead of a kiss. The gawite which
exists to-day was Invented by Vestrls; it Is a
stage dance, performed only by professionals.
During the eighteenth century there was a
tendency In Franco to give up grave and diffi
cult dances, and the CnntroLinte, which nas
much more easy, came Into favor. The runtre
uViuk Is said to have originated In Normandy,
whence It la supposed to have passed into Eug
land with William the Conqueror. Long for
gotten and neglected In France, it reappeared
there suddenly In 1745 In the fifth art of an
opera ballet by Rameuu and so charmed tbe
Parisians that from the stage It passed Into the
drawing room. Its naraehasslnco been changed
to quadrille, but the danco remains essentially
the same, though to-day no steps are used and
a nonchalant walk Is the fashion. Ench of
It Ilgurea ha some curloua Import, and
formerly every figure had Its appropri
ate step, as, for Instance "la ixntlt,"
In which tbo clucking or a ben was imitated.
Tbe celebrated quadrille organized by Mme. de
Oenlls was a quadrille or proverbs, which were
represented In nitmlo rasblon. Tho earviagnole,
which Is said to derive It nam from a small
town In Piedmont, taken by tbe French, be
came In tho lost decade or tbo eighteenth cen
tury a sort of revolutionary rimde danced by
tbe populace. While they danced, tne people
.sanga ballad. In which Marie Antoinette was
called Mm. Voto;al first they turned slo!j
stamping tholr feet, but, after the refrain, went.
faster and iaster. The carmagnnlc was a signal'
for wholesale murder and Incredible atrocity,
'tbe cunran, a word borrowed from the wad
dling movements of a duck. Is said to be the
offspring of the chahut, a dance Invented about
1H30 by a stage dancer who played the part or a
murk)-,
Til.
In spite or French or Italian claims, there is
no doubt that the world-honored waltz Is a Ger
man dance. If performed with due grace, and
Inspired by the emotion caused by tho music. It
will always remain an Ideal form of riancintr.
This duet dance was originally called Urcher
(turner), and the very word waltz means turn
ing. The first waltz tun appeared In 1U70 In
the popular song, "0 du Uclirr AugutUn;" but It
wo 181U before It made Its appearance In Eng
land, where It met, as Is well known, with vio
lent opposition. Weber did much for the waltz.
In his "Invitation d Id Value" he furnished a
perfect mode), for tbe dance was not intended
to be a fast one. Some writers have maintained
that the waltz came from the AUtmaiuIt, but,
according to tbe compilers of this book, that
derivation la erroneous The alUmande was a
medlceval German dance Introduced about 1000
in Franco, bpaln, and England, In the last
named country it was callod Almoin. It wo
performed by several couples, and the great art
In this dance does not consist In figure and In
step, but rather In arm movement. It wo a
favortt or Louis XIV, and or Napoleon.
Many and varlons are the dances of Italy, and
those performed by the people are still to be
seen to perfection, although tbe dances of the
Italian npper classes never attained excellence
till they passed Into France. In Sicily a man of
tbe people talk In verse, atrums on the guitar,
and dances a measure as easily a an English
man will whittle. The most famous Sicilian
dance la th SMUana. It la of an ldylllo and
Under nature, theugh tometlmts, to Norths.
, V, ,
onlookers, tlrtsom. It la frequently performed
at tr eddlngs: In Mozart' "Nozze dl Figaro"
thtro Is a charming example ot this dance.
The peasant dance the ticillano to a
flute, or a tambourine with bells; those
who are above the" peasant In the social
scale have an orchestra of two or three
violins, to play the whole afternoon or evening.
Th bull It opened by a man, who, taking his
cap in hand, bows low to a lady; she rises nois
ily and danco with all her might, the couple
holding eaoh other by means of a handkerchief.
Af ir a time tho man makes another profound
bownd sits down, while tho woman oontlnuet
pirouetting by herself; then she walks around
th room and ohooaes a partner, and so It goes
on, man and woman alternately dancing and
choosing., To the Neapolitans tho Tarunt'lla Is
what th Fandango Is to Spaniards. It ha
spread over tho whole south of Italy, and Is the
dance most frequently mentioned by travel
lers In that region. It Is usually performed
by a man and woman, but sometimes bv two
or tbreo women alone, playing tambourine
and th large-Mzod Neapolitan castanets;
tbe time Is gradually accelerated, until
tho dancers revolve at a high rato of speed.
That the dance Is beautiful nnd fascinating
may lie seen from Mme. de StaeTa account uf It
ln"Corlnno." It Is supposed to have derived
Its nam from tho tarantula, or venomous
spider of Apulia. According to some authori
ties the bite of this Insect produces convulsive
movements. The complaint knows as tarantlsm
Is said by some Italian physicians to be curable
by muslo and dancing. 7 he Castanet, without
whloh tho tarantella Is Inconceivable, Is an In
strument certainly e.n old as tho frescoes ot
Herculatimum. where wo see It In the hands of
the barolmntes.
Wo pass finally to Spain, where everybody
dances, nnd where the dance Is everywhere
seen. According to Cervantes, " there never was
born a Spanish woman yet but was born to
lance." The performances of Cadiz dancing
girls were often described by Roman authors,
and at that time, as to-day, Bnetlca, now Anda
lusia, was the classio home of the art. There Is
no doubt that In Spain, even moro than in Italy,
we find survivals or Greek dances as these were
modified by ltoman manners and customs.
Countless are the provincial dances or Spain,
but there are three which are national. Tbey
are the ft imianoo, the Mcm, and tho StouidtiUu.
The word unddnpo means "go nnd dance."
The movements have been described as a regu
lar and harmonious convulsion of all part
or tho body. It Is or extreme antiquity,
and may bo oosumed to be tho prototypo
of all Spanish dancing. Performed by two
people In alow time, accompanied by castanets,
the clicking of the wooden Instruments, the
song, tbe movement of feet and arms, all work
together In a harmonious whole. Ever) thing Is
lire and motion In this dance, which begins ten
derly nnd gently, bntgraduully rencbes the high
est pitch uf I'xnllntlon. Every part ot the body
becomes allte. Tho reel stamp the tlmo accents.
Bud, in the absenie of castauets, the fingers and
thumbs are snapped, when tho first couple
are tired tholr place Is Immediately taken by
a second, "The fury und ardor for the dance,",
writes a traveller, "with which Sosiitards'
are possessed on hearing the famlango
played recalled to my mind tho Im
patience of the Italian race horses, standing
behind a rope, which, being fixed across
tbe street, breast high, restrained them, and
tbo voloclt) and eagerness with which they
est off without riders the Instant that bar
rier was removed." Tbe bnltrn Is shorter than
tbaindnnoo, and Is comparatively modern In
Spain, whore it was Introduced from Provence.
The name is supposed to come from I'olar (to
fly). The bolero Is performed to guitar and Cas
tanet accorapaiilinrnt. Tbe woman's part Is
very lively und diversified end In no other
dance do you see such a great varletv of arm
movements. In all these Spanish dances the
fulness of expression Is umazlng. Ejes and
features emphasize tho ;ostures, and every
human passion is depicted. In the teguidtUai
the voice generally accompanies the dance,
and the women mark the rhythm wltb
their heels, a movement whloh odds
a piquant effect. This Is a quicker dance than
tbe bolero. A prelude on tbe guitar allows th
pairs to group themselves In t"o files, whera
tbey face with three or four steps between them.
On the fourth bar or tbe dunce tune tbe move
ments begin simultaneously with song and a
Castanet accompaniment. On tbe ninth bar a
pause Is made, and the guitar plays alone. Then
all change place, and afterward go through a
solemn walk, dance again, nnd go back to tbelr
places. The third part of the se;iiWlui Is sud
denly Interrupted on the ninth bar. Tradition
requires every performer to remain Immovable,
as if bo were petrified in tho attitude In which
the last beat has surprised blm. This Is tho
most Interesting feature of the dance, and
"Ultn parnuo.'" (well stopned) is the exclama
tion which greets the successful dancer.
The dance has cons'ltnted an Important part
In theatrical exhibitions In Spain, even in relig
ious dramas. Many theatrical dances were
probably accompanied by words, and were what
Cervantes called "recited dances.'. Such was
tbe Zaralmndat, sometimes spelled tarabanda,
a dance which may be truced to the twelfth
century. According to tho historian Mariano,
It received Its name at Smv lllu from a devil In a
woman's form. The word xaralianda means
noise, and Is of Arabic-Moorish origin. It may
well be a revival of the llcontlous Greek "Cor
dax." It is certain tbat this dance gavo great
scandal, and in ltv.'l It was modified. We add
that it was a saraband which Cardinal Richelieu
waa supposed to have danced, with bells on his
ankles, to win the favor of Anno of Austria.
Cnstelnr.
The latest addition to the "Public Men of To
Da" scries Is n life of (km f.'iniK., (.Tutelar, by
David IUmay (Frederick Warne Co.). For
any one not a Spaniard this was a difficult
book to write. To npprccluto Castelar. one
must know Spain thoroughly. Th author
Is as well qualified for the tank as any living
Englishman, not only bolng a man or uncom
mon acquirements and ability, but having lived
for many years In tho Iborlan peninsula, dur
ing which he has made a careful study of the
history. Institutions, and distinctive traits of
the Inhabitants. Especially Is ho familiar with
the history of Spain during the pruientrentury.
a kind of knowledge which Is very rare north of
the Pyrenees. He Is thus competent to place
the biography which Is his specific tak. In the
right historical framework, itisoiil) tho least
known Incidents of the subject's llfu to which
we shall refer in this notice nf the book.'
Prince Blsmurrk lately made tbo paradoxical
assertion that Spain Is a " proud homogeneous
nationality." Mr, Ilannuy devous preliminary
chapter to showing how little basis there It for
such a description. 1 1 Is easy, uf course, for any
tudent to demonstrnto that not even Sicily is
tbe eeat nf a population so heterogeneous as Is
that of tho Iborlan peninsula. Nor are there
distinctions ot race only. To sny iiothing of tho
Portuguese, there are no fewer than four dif
ferent languages spokiin south of the Pyrenees,
to wit: tbe Gnlician, the Castlllun, the Cata
lan, -ml the Basque. As for pudn. It Is cer
tain tbat the Spaniards have nothing to bo
proud ot In tbe present, and but little to
hope for In the future. The history of
Spain from the French Invaslnu till the
establishment of tho present prolonged truce,
duo mainly to Marshal Martinez Campos, may
be summed up In a couple uf sentences. A
country, which was. In reality, composed or a
combination or countries, was suddenly taucht
tbat the government under which It had drift
ed on, working uoUWucli und thinking lees, had
broken down. It Iyl first to struggle for na
tional existence tbrgh anarchy, and then to
fight lis way to a recfif tructlon of government
through a succession cVfjother anarchies, by tbe
tight of political and moral ideas which it has
borrowed from it neighbors, the French, but
which It has hardly yet succeeded In so far as
similating that it can call them Its own.
I.
Emllto Caitelar was born at Cadiz In 1833.
nis father Is described as a man of business,
whloh. In the Spain of sixty years ago. Implied
that the future republican lender was not born
a gentleman, Hit career hat been shaped to a
considerable extant by th fact tbat be Issued
from lb class whloh U leatt wedded to ti i
t -
ancient way, and from th part of Spain which
Is most under foreign Influence. Cadiz, hi
birthplace, being a great seaport, has always
been exceptionally accessible to tho outer
world. It was the horn ot the famous Cortes
which drafted the Constitution of 1R12. and
tho Spanish liberalism of the nine
teenth century has had It headquarters
there. The elder Castelar was a strong
Liberal, and at one time Secretary to
the revolutionary junta, but ho escaped
the vengeanc wreaked by Ferdinand VII.
npon those who had Imprisoned him. The elder
Castelar died while hit son was a boy of 7,
whereupon tbe mother took her children from
Cadiz and established herself at Eldo, a village
In the kingdom of Murcla, tho most Africanized
portion nf the Spanish peninsula. From Rlda,
tbe boy Emlllo went to school nt Alicante,
whence, at the age of 10, and In 1H48, be pro
ceeded to Madrid, presumably destines) to com
plete his education at the university and to be
come a lawyer. As a matter of fact, be became
a Journalist and remained unknown beyond a
small circle of friends and colleagues until 1854,
when, at tbe age of 2Z, ho awokeone morning to
find himself famous nt an orator.
We have seen that the most eloquent of living
Spaniards waa by birth an Andnlnslan. The An
daluz Is the Irishman, the Gascon of Spain. Ills
brag and his preference In all relations nf life for
the usoof the superlative are the Joke of all other
Spaniards. No other Inhabitant ot the penin
sula Is so subject to tbe Infirmity known to
scientist as megalomania, and termed In the
American vernacular "swelled head." He I
the life nf every Spanish regiment by virtue of
hi good humor, hi songs, and his practical
Jokes. He Is alto tho pest of his company officer
by reason of the Ingenuity with which he con
trives to evade tbe regulations. He has a lean
ing to every kind of trad which combines
opportunities for show with a dash or
vagabondage. In the sixteenth century he
supplied a large proportion ot the ad
venturers who overran Amerioa. To-day the
trades of bult-flgbter. smuggler. Journalist,
and politician have an Irresistible attrac
tion for him. HI flow of words is astonishing,
even In a nation unrivalled In It command of
language, and thus It ha come to pass that be
has flourished exceedingly In an epoch of par
liamentary eloquence. At no period of Spanish
history have Andaluslans bean o consptcuou
as during the last alxty years. If w turn to
his least creditable side, we find blm charged
by Mr. Hannay wltb being the leaat trustworthy
or all type of Spaniards, not becau be Is de
liberately more dishonest, but through the
wurklng or his hlstrlonlo faculty, his ca
pacity or really being, for tbe moment, th
thing he 1 moved to represent What ho
says la not alwaya what he means, but only
what bis artistic faculty tolls him he ought to
say. In our day, his reputation a a fighting
man does not stand high; his berolo words aro
apt to be belled by actions which Indicate a
keen regard for his personal safety: neverthe
less, he will sometimes show the way gallantly
when all oyea are on him. He does not anjoy a
reputation for steady Industry, but he can work
by spurts very zealously, when stimulated by
the prospect of Immediate reward.
Of course, the author of this book is careful to
warn the reader not to assume that Don Emlllo
Castelar shares the character of hi fellow pro
vincials to tbe fnlL He would scarcely be ac
cused of untrustworthlness, for even in tbo
whirlwind of his eloquence there ha always
been a considerable nucleus of sincere convic
tion. Yet, unquestionably, he has the Anda
lustan'a love or the grandiose, and or what hi
own sonorous language describe as th "ram
bombante," meaning th ear-filling but mean
ingless. We aro told that, during his school
days at Alicante, be was a retiring boy, with a
taste tor reading and a love or tbe classics. It
Is not to be Inferred tbat an opportunity
was afforded blm ot gaining tbe love and habit
of accuracy, for Spanish education waa at
Its worst In his youth. There 1 no doubt, how
ever, tbat he aoqnlred a ralr working knowledge
of Latin, which is not difficult for an Intelligent
Spaniard. Fin scholarship In th German or
English sense .of the word Is rare in Spain, but
It Is not uncommon to find laymen and church
men who can both speak and write th Latin
language fairly. A regards CosUlar'i amus
ing pretensions to omniscience, Mr. Hannay doe
not hesitate to say that both bis books and bis
teachings are marked by an appalling fluency In
talklngabout all time and all knowledge which,
in the case of an Englishman, would be con
sidered to amount to proof that he bad read
at second hand about a host of things, but had
never mastered any one thoroughly. C&atelar
gives one the Impression of taking all learning
for his province, but It It painfully clear that hi
title deed are insufficient.
II.
As we hara (aid, Emlllo CasUlar emerged
from obscurity In 1854. A meeting at th
Teatro del Orlente In Madrid supplied tbe op
portunity. The date was September, and tbe
occasion was a military uprising under Gen.
Dulce against one or the unstable ministries
which followed the downfall or Narvaez in
1851. At the meeting In tbe theatre, there had
been an abundant consumption or eloquence,
and tbe satiated audience was beginning to dis
pense. Castelar had sat silent while bis elders
were speaking, but now he sprang to hi feet.
The nudlenc wo first arrested, then drawn
back. WhenDon Emlllosatdown,hohad taken
hit place a the moat popular orator or the
day. Hitherto he bad been only an ordinary
Journalist, writing articles for tbe poor pay
afforded by the Spanish press, and the author
of a novel not much read either then or since.
Henceforth 'his contributions were fought for
and bis help eagerly asked at every public meet
ing. It does not appear that Castelar took any
part In the street fighting of 1850. Ho Is a
speaker and writer. During the two years of
trouble which followed Dulce's outbreak In
J 854, and tho major part of the twelve which
ensued, he confined himself to attempting to
Influence his countrymen by tbe written and
spoken word. The author of tbla book doea
not blame Castelar for hla preference for peace
ful methoda, but be justly say tbat when a
writer and speaker provokes others to fight
the case Is altered. As a matter of fact,
however. Don Emlllo has been no preacher
of nrmed sedition. In politics, he began as
a Progreslfta, or Progressive, and in tbe nat
ural course of things he soon became some
thing more. It was largely from Victor nugo.
Who had been converted to his final demo
cratic stage some four year before 1850, that
Castelar learned tho eontlmrntal democratio
views which he was to advocate, till he was
called upon to apply them, and was summarily
converted to a conviction that they would not
work. Before and sine, that date be bos writ
ten a great deal, of which hi present biographer
will only say that It It Victor Hugo tnrned Into
diffuse and grandiose Spanish. Sir M. Grant
Diilf, tho most ardent or Castolar's admirer In
England, Is constrained to confess that the
merit of th much vaunted lectures on "Civ
Miration durlnp- the first five centuries of
Christianity lies not In It Itnrnlng. nor in
maturity of thought, but In tbe rushing splen
dor of Its rhetoric." What Sir M. Grant Dull
politely calls a "rushing splendor of rhrtorlo"
would have been dismissed by Mr. Ford, who,
above all Englishmen, knew the Spaniard
best, as examples of "tho Castlllan vice of
twaddle." All through Castelar' writing and
speeches of the middle period of his life thsre
runs a conception of the " people" as something
which remains when jou nave deducted from
a nation Its klngand noblen. Its capltallsta and
bourgeois?, Ita clergy and soldiers, and not only
them, but. when the winnowing process Is com
pleted, every t-lass which has an interest of It
own arising fiom tbe ownership of property.
The very peasant proprietor almost loses bis
rights to be considered " people" when he It
contrasted with tbe laborer who ha no land.
He lo.es It wholly In the opinion of such apostles
of freedom as was Castelar In middle life,
nben he makes such a deplorable us of liberty
a to consider that hit InteretU are In anyway
bound up wltb those of nobltt and church
men. To tbe residuum there la to be added,
according to tba doclrlnea of the Victor
Hugo tchool, the man of letUr. of Klenoe,
and th artist, for allot whom th "people" It
eredlud with entertaining a feeling of venera
tion. 71m lmorttoMhljia:XatatMJittJj Mlaft
r -jw,
on the part of literary genllomen In the high
vnlu put upon themselves by the "people" Is
thoroughly consistent. They nre, with very
few exceptions, men of th middle class them
selves, with no knowledge wbatover of any
class except their own. They have evolved a
"people "out of tbelr awn Innrr consclousm si,
more entirely than ever German did a camel,
and they have credited It with all tho virtue
which It ought to possess In order to make Uto
pia possible on this earth. Tho "people" nnd
Its virtues bolng then taken for granted, politi
cians of Castelar's school proceed to Insist upon
eridrnvurlng to set up the kind of polltj In
which ther wilt have free soope. They are
Impatient of all talk of practical meat
urea, palliative and moderate reforms, as
mere attempts of tho enemy to defraod
the "people" of Its rights, under pretence of
redressing Its grievances. Nothing Is to bo ac
ceptable till the "people" have their right,
which, by the way. are defined In twenty artl
clas of faith by Castelar In his "Formula del
Progresso." Three or these articles ran as fol
lows: "Independence, within their defined
sphere, of the municipality aud the province"
"Abolition of the punishment of death." "Ab- I
olltlon of the conscription." From every one of .i
these three articles Castelar became converted '
by a process much more effectual and rapid J
than argument, when. In the course of time, he ?
had todlscharge the dutloa ot Chief .Magistrate. M
III. jyl
As a reward for his lectures on civilisation 1
Don Emlllo became Professor of th Pbllos- El
opby of History In tho Unlvertlty of J
Madrid, which Is tbe old unlvtrslty of flU
Alcald de Uenaret, transferred to tbe capital. Wt
According to the most orthodox French (j
practice. lie used bis obalr aa a convenient V
tribune for the teaching of bis doctrines, and. i
In the meantime, continued to buay himself ';
with uewspsper polemics. For nearly ten year.
or down, in fact, to 1800, he and hit party p- Ij
peered to be of exceedingly little praotlcal Ira- ;i
portance In politics. Narvaez and O'Donnsll jS
alternated In office: the military movement of
1864 hod thrown all power, for the time. Into jgj
the hand ot soldiers. -The advance of Spain. vjg
however, in material prosperity waa great; In- 3
ternal order waa maintained, and the national
pride waa gratified by a decently conducted fc
war against Morocco in 1850. The weakneaa H
of tbe' Government did not lie In want l!
of principle, as the Democratic critic aald It U
did, meaning thereby the want ot such a screed
of generalities as were enom orated in Castelar' f
"Formula." It lay In the qualities of tbe men 5
who governed, and their entire Inability to J
master the circumstance in which they wer S
placed. They might have administered tho 3
Government effectually if they had been sura
of their places. But they never were. They I
were compelled to pa their time, first. In
intriguing to reach office, and then In intrigo- 5
Ing to keep it. The Spanlab nation at that time
aeemed to Justify Mr. Hannay' accusation that
It waa unable to produce any man capable ot f
dominating all rival. Afterward It produced
Prim, and It has line produced Campos. 1
Mr. Hannay la not one of the literary acaven- 1
era wbo oar to write about tba error of a lady I
who 1 still alive. Yet It li, of course, notorious
that Queen Isabel II. was largely rescnnsl- 1
ble for tbe sordid collapse of the mou- f
archy in 1800. No girl wo ever worse ij
brought up. Not to touch npon the scandal of !3
her mother' life, we may certainly say that the m
young Queen was surrounded In ber girlhood by 9
wll-born persons of tbe moral stamp of Juliet's V
nurse. We need not add tbat ber marriage wa
deliberately designed by lu contrivers to be a
mockery. A story which went the round of
Bpaln at tba time of the revolution of 1808 may !
not represent tbe truth, but It shows what w a
thought. "If I were a man." aald the Queen to
bar nominal bnsband-and everybody believed
her "I would put myself at the head of my
troop." "And if I were a man so would I," waa
the answer attributed to Don Francisco. If
tbe scandal of the palace, however, had been
all, there would scarcely have been an ant!
dynastlo movement. By 1805, however, acrlsla
was manifestly at hand. The State waa bank
rupt, and the Finance Minister were engaged I
in an unbroken series of unsuccessful expedi
ent to find money. At thl Juncture the Queea
made an offer to assist the Treasury by resign- '
ing the property of the Cfown on consideration
that she was to retain 25 per cent, of tbe price
realized at the sale. Castelar made tbe offer a
pretext for a violent attack npon the Qneen In
his papar. La Demnoroeia. assertlnsy tbat tbe
so-raited sacrifice proposed by tbe Crown would f
be. in fact, little better than a swindle, as the
Crown land really belonged to tbe cation. H I'
wo at one punished by forcible removal ,
from hla Chair in the University of Ma- P
drld. Don Emlllo Immediately became a hero,
nnd. when tbe Hector of the University It
refused to proceed against blm "academically," y
that is, to pnnlsh him qua professor for act -5
done qua Journalist, the Rector, too, wa dls- J
missed and also became a hero. Presently, J
when Narvaez made way for O'DonnelL, both
tbe rector and the professor w era allowed to re- V
aume their places. Insubordination now began I
to spread In the army. The first shin of the ap- I
preaching revolution wa th pronunclamento J
of Don Juan Prim nt Aranjuez. in January, f
1808. Prim wa the ion of a Catalan butcher. I
who bad risen in the army to tne rank or Gen- I
eral because he undoubtedly poeaessed the e. 1
entlal military virtue or personal courage in l
an eminent degree and proved It during tho
war with Morocco In 1850. His first venture. If
In January. 18ob wa a failure. Ho attempted
to bead a rising In favor of the Progresist JJ
party, bnt wa only Joined by a handful ft
of cavalry. Finding that tbe coup had failed, 1
Prim fled In hot haste to Portugal, and V
thenceto France, where he became the lion of I)
the boulevards. A muob more serious military C
rising followed in June nf the same year. Thl D
explosion came from an unexpected quarter th
scientific corps or the Spanish army, comprising
the engineer and artillerymen, who had gener
ally held themselves aloor from oronnnclamlen
tos. The movement waa not headed by the off!,
cer. bnt wa a military mutiny in the strie
sense of the word. At the same time tbe com.
pllclty of tbe Progresisu In the conspiracy was '
mad manifest. O'Donnell behaved with great 1
energy, but for an hour or two it wa doubtf nl I
whether tbe disorder would not spread through
out the garrison. Had It done .o. It lecrtala I
that the revolution of September. 1808, would
have been antedated by two years, Themo.
tlneera fought with desDeratlon. and 600 men
are said to have been killed before the bar
racks were stormec;. In thl rising Caatela- '
had tkn a snfficlently active share to make
it advisable for him to get beyond the reach ot '
0 1 Donnel I. and he accordingly retired to Franc.
of ihh! mwV"1 f: tW y"rt-from w'-umm.- i
of lBoutlltheautnmnof 1808. At thU period I
he waa nbleto escape theextremesof poverty!- I
llUra iibor; he contributed portrait of con. I
temporaries to American and Bpanlah.Amert.
can paper, and in a visit to Italy collected ma.
terlals for a book. H. I. ,fi ,.. ,"
time to conspire, but the real conspirator
of these year. wa. undonbtedly Don Jnaa
Prln To Prim Castelar must have ap!
peered a mere Idealogue, while. Oasular
a,HiPrlm WM mer wrd.io h
nted while it wa Indltpeniabl. bt t i -.
book into th.c.bDrd when it had oncn.
tied the people to speak freely. PrloV. ag'nU
were busy in th. army, but it wa. thuW
a. It Uw.ll known, which .tarted the ".voljl
and tbe movement tpread over bpatn with th.
utmost rapidity Under the l.adeo
the troop, in th. toutu followed the navVS
examDle and pronounced agalntt thedynaatv
-hiM V?. tnVgtt-',l0'mlnltd by hit
children, fled Into France, In th. provl.lonll
Government rtlablltbed at Madrid Serronn ?1
Council of Minute"11 Ca.u7wo.X :
member for Saragoasaof tb.Con.m" ;
and became at once the lead cf on ""?" ' ti
tb.tbody. Thsrecme.. U..I? ' 0
division in th. Radical ,a"kt wh.n acbo"c& I
teasa m
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