d as in walking, as if to step forward, then the
leg is vigorously straightened to a kick, so as to make the bells ring.
At the same instant that the forward leg is straightened, a hop is made
on the rear foot; the dancer alights upon the toe, but lets the heel
follow immediately and firmly, so that he stands upon the flat foot. A
good snap-shot photograph of one in the act of walking, when the forward
foot has made about three-fourths of its stride, gives a perfect
illustration of the Morris dancer's step.

As with the step, so also with the jump, which in so many cases begins
and ends a measure; the dancer jumps, roughly, as high as his own foot,
holding when in air legs and body straight, alighting upon the toes, but
only so as to break the shock sufficiently for comfort, then letting the
heels come firmly down. In alighting from the jump, the knees are bent
just enough to save the dancer from injurious shock, and are straightened
immediately.

Such are the Morris step and jump; the jump never varies; the step does
vary as to height, length and vigour of stride, as will presently be
noted. It must, however, constantly be borne in mind that, high or low,
there is always sturdiness in the Morris step; to Morris-men the
languorous and the lackadaisical are for ever unknown.

For the purposes of compiling a notation, we have classified the steps
necessary to the dances described into two, as follows:--

In the step most commonly used the raised foot is thrust forward only so
far that, when the leg is straightened to the kick, the forward heel is
roughly the length of the dancer's foot in advance of the toe of the rear
or supporting foot. This step, it must be remembered, will be used
always, except when specific instructions are given to make it higher or
lower.

In the high step, used chiefly in the figures called "Capers" (_see_ p.
50), the dancer must, if his activity will allow of it, raise the forward
foot until its toe is as high as the knee of the rear or supporting leg.
It is an exercise not to be attempted all at once in its completeness,
because it is one well calculated to send the inexperienced enthusiast
sprawling on his back. Its study should be approached gently, by way of
familiarity with the simpler movement, which, once it is mastered, may
easily be extended to the harder one. The latter must be approached with
caution--that is all. And the novice is to bear constantly in mind that,
in the matter o