directs
it.

His red boots move over the green sward, his belt sends forth
flashes of light; he proceeds slowly, as if at random: but in
every one of his steps, in every one of his movements, one can
read the feelings and the thoughts of the dancer. He stops as
if to question his partner; he leans towards her, wishes to
speak to her in an undertone. The lady turns away, does not
listen, blushes. He takes off his cap, and salutes her
respectfully. The lady is not disinclined to look at him, but
persists in being silent. He slackens his pace, seeks to read
in her eyes, and smiles. Happy in her mute answer, he walks
more quickly, looking proudly at his rivals; now he draws his
cap with the heron-feathers forward, now he pushes it back. At
last he puts it on one side and turns up his moustaches. He
withdraws; all envy him, all follow his footsteps. He would
like to disappear with his lady. Sometimes he stops, raises
politely his hand, and begs the dancers to pass by him.
Sometimes he tries to slip dexterously away, changing the
direction. He would like to deceive his companions; but the
troublesome individuals follow him with a nimble step, entwine
him with more and more tightened loops. He becomes angry; lays
his right hand on his sword as if he wished to say: "Woe to
the jealous!" He turns, pride on his countenance, a challenge
in his air, and marches straight on the company, who give way
at his approach, open to him a passage, and soon, by a rapid
evolution, are off again in pursuit of him.

On all sides one hears the exclamation: "Ah! this is perhaps
the last. Look, young people, perhaps this is the last who
will know how to conduct thus the polonaise!"

Among those of Chopin's compositions which he himself published are,
exclusive of the "Introduction et Polonaise brillante" for piano
and violoncello, Op. 3, eight polonaises--namely: "Grande Polonaise
brillante" (in E flat major), "precedee d'un Andante spianato" (in G
major), "pour le piano avec orchestre," Op. 22; "Deux Polonaises" (in C
sharp minor and E flat minor), Op. 26; "Deux Polonaises" (in A major and
C minor), Op. 40; "Polonaise" (F sharp minor), Op. 44; "Polonaise" (in A
flat major), Op. 53; [FOOTNOTE: This polonaise is called the "eighth"
on the title-page, which, of course, it is only by including
the "Polonaise," Op. 3, for piano and violoncello.] and
"Polonaise-Fantaisie" (in A flat major)