nces, they
are venturesome in their springs, jubilant in their joy; everywhere
there is the poetry of enjoyment of the senses. The chorus of
bystanders sing loudly to the dance, and the maidens join softly in the
melody. Still greater becomes our astonishment when we examine closer
the rhythm and words of these old national dances, there is a grace not
only in the language but in its social relation, which reminds us much
more of the ancient world than of the feelings of our country people.
Introductory strophes, which extol in countless variations the advent
of spring, are followed by others which have little coherence, and are,
as it were, improvised, like the _schnader huepflen_, which is still
retained in Upper Germany among the popular dances. The subject is
often a dispute between mother and daughter, the daughter dressing
herself for the festivity, the mother wishing to keep her back from the
dance; or it is the praise of a beautiful maiden, or droll enumerations
of dancing couples; often the text conveys attacks upon opposite
parties amongst the dancers, who are depicted and turned into ridicule.
Parties are easily formed amongst the dancers, the opponents are
challenged in caustic verses; the glory of the young lad is not to put
up with any slight, and to be the most vigorous dancer, cheeriest
singer, and the best fighter. The dances are followed by feasting, with
loud and boisterous merriment. The winter brings new pleasures; the men
amuse themselves with dice, and with sledging on the ice, and the
people assemble in a large room for the dance. Then stools and tables
are carried out; the music consists of two violins; the conductor
begins the melody, and the head dancer leads off. The rondes and other
dances are various in character; more antique and popular is the
measure and text of the chain dance in the old national style of two
parallel rows; the winter dances are more artistic and modish. For in
the song dances, which we may consider as the beautified copy of the
old rhythm and text, the courtly law of triplets in the strophes is
everywhere followed; one perceives in them the imitation of Romanesque
knightly customs. Among the different kinds of dances may be mentioned
the Sclave Reidawac. The noble dances and drinks with the peasants in
these village diversions, though with the pride of more refined
manners; but however much he may be inclined to ridicule those around
him, he fears them, not only their f