not as
it were a dotted note, but in even measure with the other beats: for the
last step of each bar to Morris four-time music is a hop, as in the
polka, but in even time and in the Morris fashion.

Now, having adapted the polka step to the Morris 4/3, let the learner
simply count six to the bar and step to it in exactly the same way. He
will find, given just an average ear for rhythm, that he will soon be
dancing thus, counting as he

1 2 3 4 5 6
dances--1, 2, 3, 4, 5, 6--Right--left, Right--right;
1 2 3 4 5 6
Left--right, Left--left.

Having mastered these, one last instruction may be given. The 4/3 Morris
step is occasionally varied, so as to make it exactly like the
polka-step--that is, with the final hop danced like a dotted note; like a
quaver, if the music be in common time. This is a variation practised
occasionally by the Morris men themselves, and the enthusiastic amateur
will find himself dropping into it occasionally, following his
enthusiastic leader. No instructions for this changing of the step will
be given in the Notation, for it cannot be specified. The whole side will
fall into it naturally, upon occasion: for instance, where there is a
long stretch of the step, danced in one position, couples facing, arms
swinging and handkerchiefs waving, as in "Blue-eyed Stranger." This is
fairly intoxicating to the dancer, and here the hop will often suggest
itself. And again, in hurrying, if one gets left behind a pace, as, for
instance, in the Chain. But to hop, or not to hop, unevenly in the 4/3
step, that is a matter that will be easily arranged by the spirit of the
dancers and the discretion of their leader. We desire merely to indicate
a rule that, upon occasion, may be agreeably infringed.

POSITIONS, AND CHANGE OF POSITION.

The Morris side, when in position for dancing, stands in, or returns to,
the positions as shown hereunder. The only exception to these is the
Ring, as explained below.

POSITION 1 (COLUMN). POSITION 2 (Front).

^ ^
1 2 1> <2
^ ^
3 4 3> <4
^ ^
5 6 5> <6

Thus the six stand in two parallel lines of three each. The top, as the
rule is in dancing, is set towards the music. The angles represent the
dancers: the apex of each angle points as the dancer's face is turned;
the numbers within the an