,illustration3 ,,morris ,,dancers1 ,,as ,,depicted ,,in ,,an ,,old ,,stained ,,glass ,,window ,,in ,a ,,house ,,at ,,betley1 ,,staffordshire4 ,,the ,,morris ,,book ,a ,,history ,,of ,,morris ,,dancing ,,with ,a ,,description ,,of ,,eleven ,,dances ,,as ,,performed ,,by ,,the ,,morris-,,men ,,of ,,england ,,by ,,cecil ,j4 ,,sharp ,,and ,,herbert ,c4 ,,macilwaine ,,in ,,two ,,parts4 ,,part ,i4 ,,london ,,novello ,,and ,,company1 ,,ltd4 #aijg4 ,this ,book is issued in connection with ,morris ,dance ,tunes1 by the same ,authors 7,sets ,i4 and ,,ii41 price #b_/- each47 ,,london3 ,,novello ,,and ,,company1 ,,ltd4 ,,to ,,our ,,friends ,,and ,,pupils ,the ,members of the ,esprance ,girls' ,club1 ,,cumberland ,,market1 ,n4,w4 ,,preface4 ,besides other friends1 too numerous for individual mention1 who have given us able and willing help in the writing of this book1 we desire to tender especial thanks to the following3 ,to the ,lady ,isabel ,margesson1 by means of whose kind assistance we were enabled to note certain of the dances herein described2 to ,miss ,florence ,warren1 whose help was simply invaluable2 and to the ,rev4 ,s4 ,baring ,gould1 for permission to reproduce in our text the old woodcut of the historic ,kemp1 who danced the ,morris steps all the way from ,london to ,norwich4 ,,contents ,,introduction ,,historical ,bibliography ,,morris ,,dance ,,tunes ,notes on ,morris ,tunes ,,the ,,dance ,the ,morris ,step ,diagrams of ,morris ,steps 7explaining ,notation-marks7 ,positions1 and ,change of ,position 7,diagrams7 ,evolutions ,down-and-,back2 and ,up-and-,back ,the ,chain 7,diagrams7 ,cross-over 7,diagrams7 ,back-to-,back 7,diagrams7 ,go-and-come ,the ,ring ,steps in ,foregoing ,evolutions ,the ,jump 7explaining ,notation-marks1 c47 ,the ,hands 7movements described7 ,the ,call ,length of ,dances 7how to shorten or extend7 ,,special ,,instructions ,,for ,,various ,,dances3-- ,,bean-,,setting ,to ,form ,ring 7,diagrams7 ,dibbing ,,country ,,gardens ,notation of ,hand-striking ,,constant ,,billy ,diagram of ,stick-tapping ,,rigs ,o',,marlow ,diagrams of ,stick-tapping ,,bluff ,,king ,,hal ,description of step1 and manner of dancing ,,how ,d',,ye ,,do8 ,description1 and note on singing ,,shepherd',s ,,hey ,instructions for ,stick-tapping and ,diagram of ,hand-clapping ,on holding sticks ,,notation 7,detailed instructions for all the ,dances described73-- ,,bean-,,setting 7,stick ,dance7 ,,laudnum ,,bunches 7,corner ,dance7 ,,country ,,gardens 7,handkerchief ,dance7 ,,constant ,,billy 7,stick ,dance7 ,,trunkles 7,corner ,dance7 ,,rigs ,o',,marlow 7,stick ,dance7 ,,bluff ,,king ,,hal 7,handkerchief ,dance7 ,,how ,d',,ye ,,do8 7,corner ,dance7 ,,shepherd',s ,,hey 7,stick or ,handkerchief ,dance7 ,,blue-,,eyed ,,stranger 7,handkerchief ,dance7 ,,morris ,,off ,,introduction4 ,we have been drawn to the publication of tunes and description of the old ,english ,morris1 not primarily for the information of the archologist and scholar1 but to help those who may be disposed to restore a vigorous and native custom to its lapsed pre-eminence4 ,whether we have erred in believing that there exists to-day a wide and keen desire for that restoration will be plainly shown in the reception and the result of our endeavour4 ,how we ourselves came by the belief in that desire is easily told4 ,the idea that the ,morris dance might once again be known amongst us1 in town and countryside1 as the ordered expression of a national spirit1 was given to us in this wise4 ,one of us--it is not by now too much to claim--had acquired an enthusiasm for ,folk-music1 and a certain knack of finding it where it still survived in the agd memories of the peasantry1 and of transcribing and preserving it when found4 ,the other had also his knack of passing on the music that pleased him to susceptible and willing juniors1 and of making them to perform the same4 ,in a happy hour the collector with his treasury and the teacher1 pining for some fresher and sincerer melodies1 met together4 ,the ,folk ,songs from ,somerset were given to those working girls of ,london town to whom this book is dedicated4 ,from the very start we were aware that the old songs1 merry or mournful1 that until then had been looked upon by this newer generation for the greater part with something of an antiquarian and merely curious eye1 had been given wings and a new vitality4 ,the songs of peasant-folk long dead1 songs of love and war1 parting and death1 prospered and spread in the ,london streets and workrooms like the news of victory4 ,we were very well used to find in these singers apt and willing learners2 we were also used to note that whatsoever we had found to teach them hitherto1 passed1 when the performance was done1 into forgetfulness3 we were totally unused to find this fertility and resonance follow1 as it followed upon the teaching of the ,folk-songs4 ,it was like a sowing and a full harvest in a place where1 until now1 we had tilled all but unavailingly4 ,forbye ,folk-songs1 the collector had noted1 some seven years before1 a set of ,morris tunes from ,kimber1 leader of the ,headington 7,oxon7 men2 these had lain until now unused4 ,seeing the ,folk-music fall upon such good ground and flourish so amazingly1 even amongst these quick-witted ,londoners1 strangers to the countryside1 it naturally suggested itself to him that here was the opportunity1 so long desired1 to wake the ,morris from its long sleep4 ,anybody not deaf and blind1 or unobservant as a stone1 knows that the genius of dancing is born in the ,london girl of the people1 as surely as in children of the sun4 ,we had ,kimber and his cousin up to town2 and the result of their coming far outran our fondest anticipations4 ,the ,morris1 like that magic beanstalk1 seemed to outwit the laws of nature3 we saw it in the heart of ,london rise up from its long sleep before our very eyes4 ,in connection with this affair1 the mention of that well-beloved fable is appropriate and irresistible4 ,the first dance that was set before these ,londoners--upon this occasion which we enthusiasts make bold to call historic--was ,bean-setting4 ,it represents the setting of the seed in springtime4 ,of course the music1 its lilt and the steps that their forefathers had footed to it in the olden time1 were as little known to these1 the ,london born1 as the tongue and ceremonial of old ,peru4 ,as little known1 yet not strange at all2 it was a summons never heard until now1 yet instantly obeyed2 because1 though unfamiliar and unforeseen1 it was of ,england and came1 even though it was centuries upon the way1 to kinsfolk4 ,let the precisian explain it as he may1 that is our way of accounting for an experience both fruitful and astounding4 ,within half an hour of the coming of these ,morris-men we saw the ,bean-setting--its thumping and clashing of staves1 its intricate figures and steps hitherto unknown--full swing upon a ,london floor4 ,and upon the delighted but somewhat dazed confession of the instructor1 we saw it perfect in execution to the least particular4 ,perfect1 yet in a different order of perfection from that attainable by men4 ,it may be noted here and now by all who have to do with the instruction of girls in the ,morris1 that the feminine temperament inevitably robs the dance of something of its sturdiness4 ,it is nothing to lament2 for what is lost in vigour is assuredly more than made good in gracefulness4 ,at any rate1 there was ,bean-setting1 perfect in its kind4 ,no wonder ,jack-and-the-,beanstalk came to mind and stayed there with the memory of this evening4 ,it was even so with all the other dances3 to see them shown was to see them learned4 ,and the ,folk-songs had prepared us for what followed3 here was no mere fugitive delight and curiosity1 as of a child with a new toy4 ,we had given back to these children of the city no less than a birthright long mislaid4 ,the ,morris-men came in ,october4 ,in the following ,february1 #aijf1 the songs and dances were performed before a company of friends4 ,the audience1 if very friendly1 was also very critical2 and there was represented in it1 literally1 every element in contemporary society4 ,and every element1 or representatives of each1 exhorted us to give our performance in public1 since it was so good that the world in general must know of it4 ,in ,april1 #aijf1 we did so4 ,the performance was given very nearly in the height of the concert season2 in no announcement of it was any mention made of charity1 or any lack or need of funds3 the entertainment was run as a public affair4 ,and the public responded so that we filled the hall to the doors and were reluctantly constrained to refuse admittance to a host beside4 ,the entertainment has since then been repeated several times2 and every repetition brought substantial evidence of continually increasing public interest4 ,it should be mentioned here that ,miss ,mary ,neal1 of the ,esprance ,working ,girls' ,club1 not only made the venture possible in the beginning1 but1 with her powers of help and organization1 gave it a reach and strength that neither of us could have given4 ,but outside appreciation did not end here--one might really say that it only began4 ,inquiries poured in from every quarter of the ,kingdom1 from every class and kind of person4 ,they all wanted to know how they also might be shown the way to do as we had done--revive these traditional ,english songs and dances in their neighbourhood1 amongst the rising generation of ,english men and women4 ,one of the inquiries1 as to how the ,morris dances might be imported there1 came from ,japan1 where all things typically ,english are in so great request4 ,illustration3 ,,from ,,the ,,frontispiece ,,of ,,kemp',s ,,nine ,,daies ,,wonder1 ,,performed ,,on ,a ,,journey ,,from ,,london ,,to ,,norwich4 ,in the case of the ,folk-songs1 it was easy enough to instruct the anxious inquirer4 ,but as to the ,morris dances it was otherwise4 ,here there were no handbooks to recommend1 for the sufficient reason that not one existed4 ,with ourselves1 and with the few--,alas6 very few--traditional ,morris-men left in ,england1 there reposed the only practical knowledge of the dances in existence4 ,with all the goodwill in the world we could only give them to others as the ,morris-men gave them to us--by example1 since in the shape of printed precept there was nothing4 ,so far as possible this demand for tuition of the dances has been1 and is being1 met4 ,some of the girls already mentioned are teaching or have taught the dances in many ,london centres and here and there in eight counties at least1 including ,monmouth and ,derby1 ,devon and ,norfolk1 and the ,home ,counties4 ,but the demand is great and growing1 the supply is obviously limited4 ,in ,london alone it might be met1 or nearly so2 but in the provinces1 with existing or possible resources1 it cannot be1 even if we could command the services of the spirited1 historic ,kemp1 who danced the ,morris all the way from ,london to ,norwich--see plate opposite4 ,this indefatigable traveller1 incidentally1 is somewhat curiously figurative of this latter-day revival of the ,morris--of its restoration by townsfolk to dwellers in the country4 ,thus we were faced with a sudden demand and very limited means wherewith to meet it4 ,in these circumstances we naturally bethought ourselves of possible expedients4 ,to us it seemed practicable to meet it only in one way--through the writing of a book on ,morris dancing1 by the help of which even those who had never seen the dances performed might be enabled to learn them1 and so pass them on4 ,the result of our endeavours must declare itself in the efforts of others to make use of this little handbook4 ,that there is a demand for it is very sure3 whether we have succeeded in putting together an intelligible and a workable manual of dances--notoriously a very hard thing to do--will be told presently in the tally of practising ,morris-dancers in ,england--and ,japan4 ,we have aimed at simplicity1 brevity and clearness in the description4 ,as to the extent of the demand and its constant tendency to increase1 so far1 there can be no doubt4 ,as to the permanence of the demand1 as to whether the ,morris dance is likely to become again1 as once it was1 a feature of our national life1 one can only surmise4 ,for ourselves1 we believe absolutely in the permanence of this revival1 and that these astounding results of our efforts hitherto are evidence1 not of a fleeting phase or vogue but of no less than that we have restored to our own people a rightful inheritance1 a means and method of self-expression in movement1 native and sincere1 such as is offered by no other form of dancing known to us4 ,the outstanding feature of all our ,english institutions is their continuity3 to have continuity you must have age and a hallowed tradition3 these we have in everything national1 save only in our songs and dances4 ,these1 although we are anything but an imitative race1 we have imported from un-,english lands1 with the inevitable result that in dance and music we express everybody but ourselves4 ,we shall go on doing so until the treasure-house of our ,folk-music and dances--now for several generations mysteriously closed to us--shall be re-opened4 ,in this handbook we have tried to do something towards restoring that forsaken repository to its rightful pre-eminence4 ,,historical4 ,we claim for this sketch no completeness3 we are chiefly concerned with the ,morris as a lapsed yet living art1 calling1 as we hold1 for revival2 we look to the ,morris-men1 not primarily as subject-matter for the industrious archologist1 but as heralds to the sweetening of the town life of ,england and the re-peopling of her forsaken countryside4 ,we have nevertheless taken some trouble in our search for all that is interesting and genuine as concerns the ,morris1 in the literature of our own country1 and others4 ,for the benefit of those inclined to follow the subject farther in its historical aspect than it is herein treated1 we have appended a list of books in which we have found items of interest4 ,so far as we can discover1 there is no single work devoted to the topic3 all that is to be gleaned of it from books consists only in scraps of information1 most of them very brief1 some contradictory2 as a rule almost casually introduced in works upon dancing1 ancient games and customs1 and such like4 ,even the origin of the name ,morris and the true source of the dance are not to be traced with absolute certainty4 ,most authorities accept1 or assert1 that the dance is ,moorish in origin3 some again bring evidence to show that the ,english ,morris 7or ,morrice7 owed nothing whatever to the ,moors4 ,still1 the weight of testimony must be held to show ,morocco as the fount and origin1 no matter if the genius of our own folk--so very far removed from anything native to ,africa--has1 in the process of the centuries1 altered it until it bears1 in spirit1 little resemblance to the parent stock4 ,if the spirit has been ,anglicised1 the steps remain4 ,tabourot1 for instance1 a very quaint and interesting writer on dancing1 tells us that when he was a youth--that would be early in the #afth century--it was the custom in good society for a boy to come into the hall after supper with his face blackened1 his forehead bound with white or yellow taffeta1 and bells tied to his legs4 ,he then proceeded to dance the ,morisco the length of the hall1 forth and back1 to the great amusement of the company4 ,so says ,tabourot1 long dead2 and to-day we learn that1 in most winters1 a side of ,morris-men dances at ,white ,ladies ,aston1 one-and-a-half mile from ,spetchley1 ,worcester4 ,they blacken their faces and have for music accordion1 triangle1 and tambourine3 their flute-player died recently4 ,tabourot suggests that the bells might have been borrowed from the crotali of the ancients in the ,pyrrhic dance4 ,he then describes the more modern ,morris dance1 which was performed by striking the ground with the fore part of the feet2 but as this proved fatiguing the work was given to the heels1 the toes being kept firm1 whereby the bells jingled more effectively4 ,he adds that this method in turn was modified1 as it tended to bring on gouty complaints4 ,we are given by the same writer a notation of the ,morisco1 or ,morisque1 music1 steps1 and description3 this shows as nearly as possible the steps of the ,morris as we have seen it danced in ,england to-day4 ,again1 ,engel1 in a passage to us of extraordinary interest1 gives in modern notation 444 one of the tunes headed ,la ,morisque1 probably the oldest tune of the famous ,morris dance still extant4 ,as it is interesting from having been printed in the year #aeej1 when most likely it was already an old tune1 it shall be inserted here 4444 ,and there we found the same tune which ,tabourot gives for the dance that he described1 as we have already told4 ,it is the tune of ,morris ,off1 which we reproduce in our books of tunes4 ,just a few weeks earlier we had taken down1 at ,redditch1 from the fiddler of the ,bidford ,morris-men1 the same tune1 note for note1 as ,tabourot gives it4 ,here in truth is a signal instance of that persistence and continuity which is always cropping up1 to the lasting amazement and delight of the student of ,folk-music--to the delight more especially of the student who1 like ourselves1 holds that in our ,folk-music is a treasury not to be hoarded for the delectation of the scholar1 but to be expended with both hands for the revivifying of a national spirit4 ,the ,morris1 then--once also the ,moresc--of ,england2 ,la ,morisque and ,morisco of ,france2 the ,moresca of ,corsica1 danced by armed men to represent a conflict between ,moors and ,christians--is in all reasonable probability ,moorish in origin3 never mind if in our own country it is become as ,english as fisticuffs1 as the dance called ,how d'ye do will show--wherein our own folk1 after their own manner1 have suggested strife1 as in the ,corsican variety4 ,holland1 as is told by ,engel1 was infected too2 industrious research1 in fact1 will probably show that the ,morris in some shape or other was known throughout ,europe1 and beyond4 ,as for the date of its introduction into ,england that is impossible to state with certainty2 but most authorities point to the time of ,edward ,,iii41 maybe when ,john of ,gaunt returned from ,spain1 as probably the earliest when ,morris-men were seen in ,england4 ,it is said also that we had it from the ,french2 another lays its introduction to the credit of the ,flemings4 ,the window with its ,morris-men shown in our frontispiece is probably of the time of ,edward ,,iv4 ,schemes of wider research1 however1 we are content to leave in the hands of the intrepid ,folk-lorist4 ,we are concerned here to extract from a mass of notes and references some outstanding few1 to remind practising and potential ,morris-dancers of to-day that this new-old art1 if not indigenous1 has been1 like many another foreign importation1 assimilated much to our advantage4 ,the ,morisco1 from which our own ,morris has obviously descended1 seems to have been originally both a solo and square dance1 the latter being performed by sides 7that is1 sets7 of six4 ,the solo ,morris existed all along1 and still exists4 ,when we saw our friend ,kimber 7mentioned elsewhere7 dance his ,morris jig to the tune of ,rodney1 had our other old friend ,tabourot been present in the spirit--maybe he was--he need have altered nothing in the description we have quoted but to substitute for the boy with his face blackened a sturdy ,english yeoman1 and to note some differences in the get-up of the dancer4 ,the solo dance has been performed also at ,bampton1 between tobacco-pipes laid crosswise on the ground--to the tune of the ,bacca ,pipes jig1 or ,green ,sleeves--suggesting the ,scottish sword-dance1 and in many other fashions4 ,another feature in the history of the ,english ,morris1 which by this time may be called impossible to account for with any exactitude1 is that in the elder days the ,mummers and their plays1 the ,robin ,hood games and other ancient diversions with their characters and customs1 became allied--or rather mixed up--with the ,morris-men1 upon ,may-day and occasions of festivity such as the ,leet-ales1 ,lamb-ales1 ,bride-ales1 c4 ,to what extent they were allied1 or mixed1 will probably baffle even the combined powers of all our archologists to discover4 ,in an old woodcut1 for instance1 preserved on the title of a penny history 7,adam ,bell1 c47 printed at ,newcastle in #aggb1 is apparently the representation of a ,morris dance1 consisting of--,a ,bishop 7or friar71 ,robin ,hood1 the ,potter or ,beggar1 ,little ,john1 ,friar ,tuck1 ,maid ,marian4 ,robin ,hood and ,little ,john carry bows of length befitting the size of each4 ,the window1 too1 shown in the frontispiece is proof that the ,morris-dancers were attended by other characters4 ,the following1 from ,ben ,jonson's ,the ,metamorphosed ,gipsies1 supplies further evidence to the same effect3-- ,they should be a ,morris dancers by their jingle1 but they have no napkins4 ,no1 nor a hobby horse4 ,oh1 he's often forgotten1 that's no rule2 but there is no ,maid ,marian nor friar amongst them1 which is the surer mark4 ,nor a fool that ,i see4 ,but other characters1 introduced for whatsoever reason1 gradually disappeared1 until the ,morris company1 as a general thing1 consisted only of the dancers1 the piper--that is1 the musician--and the fool4 ,the hobby-horse1 described later1 was habitually associated with the ,morris1 until the ,puritans1 by their preachings and invective1 succeeded in banishing it as an impious and pagan superstition4 ,this accounts for the expression1 ,the hobby-horse quite forgotten2 and gives a touch of prophecy to ,shakespeare's lament3 ,for1 ,o1 for1 ,o1 the hobby-horse is forgot4 ,as is well known1 however1 the hobby-horse still prances in ,england to-day2 at ,minehead and ,padstow1 for instance1 as an ancient and hallowed institution on its own account1 and performing with the ,morris-men at ,bidford4 ,other implements and characters may be found1 used by and performing with the ,morris-men1 that originally had no connection with the ,morris1 but were borrowed from other pastimes4 ,as we have said1 however1 this sets out to be no exhaustive study1 whether of the ,morris when it was a national dance1 or of all its survivals at the present time4 ,such a study would in scope and purpose far outrun the limits of our intention4 ,broadly speaking1 the peculiar characteristics of the ,morris1 as it was in its heyday and as it has survived amongst us1 are these3 ,leaving aside the solo dances1 upon which we shall not touch further1 the ,morris is performed by six men2 the records show that women have occasionally1 but rarely1 figured as performers4 ,a musician is of course indispensable2 also1 as it seems1 a fool1 to supply comic relief and give the dancers breathing-time4 ,the fool often goes by the name of ,squire1 sometimes of ,rodney4 ,these are practically invariable2 but beyond and beside these1 other characters have accompanied the dancers4 ,the hobby-horse we have already mentioned as a popular addition4 ,some took with them an assistant1 called the ragman1 to carry the dancers' extra clothing4 ,then1 a person in various disguises and habiliments went--and still goes--with the dancers to collect money1 if it might be1 from admiring lookers-on3 sometimes the fool himself served both as the type of unwisdom and its opposite1 who bears the money-box4 ,in some parts of the country a swordbearer accompanied the ,morris-men4 ,this officer carried a rich pound-cake impaled upon his sword-point--cake and sword were be-ribboned1 the former being supplied by some local lady2 and during the dances slices of it were given amongst the audience who were expected to respond with coin for the treasury4 ,a slice of cake was by way of bringing luck to the receiver2 the credulous even treasured a piece of it the year round as a minister of good fortune4 ,generally speaking1 these must be regarded as the fixed and regular performers and accompaniments of the ,morris4 ,but1 according to time and place1 the additions to and varieties of these were innumerable4 ,when the dance was popular1 it may almost be said that every village sporting a troupe had its own peculiar variation in dress or character or other particular of its programme and personnel1 by which it was known2 and by these singularities each set of ,morris-men and their backers held resolutely4 ,there was competition1 once1 amongst the ,morris-folk as there is to-day amongst football teams and their adherents4 ,many a bout1 begun in friendly rivalry1 ended in a scrimmage1 in which the staves brought for use and ornament in the dance were used to break heads with4 ,we are grown vastly more delicate and refined since then1 it is supposed4 ,before we go on to note some leading features in the dress and paraphernalia of the ,morris-men1 one more memory of the days that are gone--maybe in some fashion to return1 maybe not--tempts to quotation4 ,it is from the church-wardens' accounts of the parish of ,kingston-upon-,thames1 and in our prejudiced eyes has a dignity1 and somehow a promise1 all its own4 ,it is from ,lysons' ,environs of ,london1 vol4 i41 #agib1 p4 #bbf1 and runs3-- ,for paynting of the mores garments and s4 d4 for sarten gret leveres #j #b #d ,for #d plyts and of lawn for the mores garments #j #b #aa ,for orseden for the same #j #j #aj ,for bellys for the dawnsars #j #j #ab ,for silver paper for the mores dawnsars #j #j #g ,shoes for the mores dawnsars1 the frere and mayde ,maryan at #g;d4 the payre #j #e #d #h yerds of fustyan for the mores dawnsars coats #j #f #j ,a dosyn of gold skynnes for the morres #j #j #aj #e hats and #d porses for the dawnsars #j #j #d ,as a conclusion to this imperfect sketch we would point once more to the warranty of its imperfections and sketchiness offered in the beginning4 ,we hope for it no more than that it may serve to direct those inclined to bestow upon the ,morris a closer study1 to at least the beginnings of an enthralling subject4 ,so much for the origin and history of the art4 ,as for its living practitioners3 of the men1 for instance1 of ,gloucestershire1 ,norfolk1 ,lancashire1 ,northumberland--the last-named of whom danced the other day before the ,king at ,alnwick ,castle under the name of ,guisards--and elsewhere1 we offer no precise information4 ,it may be that one day we shall be privileged to do so4 ,but for the tunes we have set down1 and for the dances belonging thereto we have attempted to describe1 we do claim that in these we have tried most faithfully to pass on to others what the ,morris-men gave to us4 ,,musical ,,instruments4 ,in earliest days of the ,morris1 music was made by a simple pipe1 by pipe and tabour1 or the bagpipe4 ,of these the bagpipe was apparently the original4 ,an old madrigal1 printed in #affj1 runs thus3 ,harke1 harke1 ,i hear the dancing ,and a nimble morris prancing2 ,the bagpipe and the morris bells ,that they are not farre hence us tells2 ,come let us goe thither1 ,and dance like friends together4 ,since the disappearance of the bagpipe1 pipe and tabour 7called whittle and dub7 have been1 even within the memory of living men1 the accepted instruments wherewith to make music and beat time for the ,morris4 ,they are now fallen into disuse4 ,the pipe or whittle was of wood1 really an early form of the flageolet1 over a foot long2 sometimes it had a metal tongue in the mouthpiece2 two finger-holes and a thumb-hole to vary the note1 and was played with the left hand4 ,from the left thumb the tabour1 or dub1 was suspended by a loop3 the dub was a miniature drum1 elaborately made1 and was beaten by a stick held in the right hand4 ,pipe and tabour were sometimes played by separate men4 ,at the present time the music is generally played on a fiddle2 though here1 again1 having no complete knowledge of all the traditional dancers still left among us1 we offer no precise statement as to the instruments still in use4 ,one ,morris-man we knew made music on a concertina4 ,see plate opp4 p4 #bb4 ,,dress4 ,in the matter of dress1 old-time accounts prove that the ,morris-men indulged in considerable variety2 and even amongst present-day inheritors of the tradition there are many differences4 ,still1 certain features may be regarded as common1 and the dress of ,mr4 ,salisbury 7plate opp4 p4 #ba71 leader of the ,bidford men1 may be cited as typical4 ,the tall hat1 though not universal1 is the most popular and general headgear2 and this dancer and his men wore a broad band of plaited ribbons on their hats some two-and-a-half inches wide1 in red1 green and white4 ,the elaborately frilled and pleated white shirt is also typical2 this was tied at wrist and elbow with blue ribbons1 the ends left hanging4 ,the breeches were of fawn-shaded corduroy1 with braces of white webbing2 on the braces were pinned1 in front and at the back1 level with the breast1 rosettes of red1 white and blue ribbons1 the ends left hanging4 ,the tie was of the same blue ribbon as that in the rosettes1 also with the ends long and loose4 ,the boots1 as befitted the sturdy work they had to do1 were substantial2 the stockings of rough grey wool1 which showed between the boots and breeches4 ,illustration3 ,,mr4 ,,salisbury1 ,,leader ,,of ,,the ,,bidford ,,morris-,,men 7#aijf74 ,illustration3 ,,the ,,bidford ,,morris ,,side4 7,,fiddler in foreground1 to the right2 ,,hobby-,,horse--left1 and ,,fool--centre1 beyond ,dancers47 ,in the case of ,mr4 ,kimber1 leader of the ,headington men 7plate opp4 p4 #bb71 the dress1 it will be noticed1 was simpler4 ,a white sweater took the place of the pleated shirt2 ribbons of red1 white and blue were crossed upon the chest2 the trousers were of white flannel4 ,some notes on the bells and on the manner of fixing them will be found under the heading ,bells4 ,the fool's dress would seem to be designed to-day1 as in the olden time1 upon no particular plan1 but to follow the fancy of the individual wearer4 ,the ,bidford man1 whom we saw at his really funny antics1 had a fox's mask for headgear1 the muzzle lying on the man's forehead1 the brush hanging down his back4 ,his face was raddled like a clown's2 he had a vest of cowhide1 with red sleeves2 stockings and breeches much like the dancers'1 and he wore his bells1 not on a shin-pad like them1 but in a row all round the boot-top4 ,he carried a bladder on the end of a stick1 and with it he freely whacked the hobby-horse man and occasionally members of the audience4 ,the hobby-horse man of the same company was dressed like a jockey2 and1 while the dancers had a rest1 he and the fool carried on innumerable capers1 sometimes backing in amongst the audience1 occasionally overturning a few1 and now and then chasing any maid that could be started on the run4 ,if this pair be typical of the olden time1 we can answer for it that their fun was uproarious and perfectly wholesome4 ,,bells4 ,to the wearing of bells1 stitched upon thongs and tied to the shin1 there would seem to be no exception amongst the ,morris-folk1 even from the earliest times4 ,the celebrated ,kemp1 who danced the ,morris all the way from ,london to ,norwich in #aeii1 and whose picture we reproduce1 wore his bells in the traditional manner4 ,the records show that1 even in recent times1 both treble and tenor bells were worn1 each carried by the opposite files of dancers4 ,there are accounts also of bells with four different tones4 ,but nowadays certainly the rule is that bells all of a kind are worn by all the dancers--latten bells1 if that be still the correct name for the kind of bell to be found upon the harness that children use when they play at horses4 ,the shin-pad that carries the bells varies to some extent in the details of its construction2 the number of bells also varies4 ,sometimes the vertical strips and lateral ties of the pad are of ribbon or braid2 maybe oftener of leather4 ,sometimes the bells are stitched upon the lateral ties1 top and bottom2 it is more usual1 however1 to fasten them on the perpendicular strips4 ,the whole bell-pad is some seven inches square1 and is worn midway between knee and ankle4 ,kimber1 as will be seen 7plate opposite71 wears twelve bells on each leg1 in three perpendicular rows of four each4 ,,handkerchiefs4 ,some dancers carry a white handkerchief--the middle finger thrust through a hole in one corner--in all their dances2 we have1 elsewhere1 described the dances as we have seen them performed1 with and without the handkerchief4 ,illustration3 ,,mr4 ,,kimber1 ,,leader ,,of ,,the ,,headington ,,morris-,,men 7#aijf7 ,,sticks4 ,the stick1 or staff1 used in some dances1 and the manner of using it1 are described elsewhere4 ,sometimes a bunch of ribbons is tied to the butt2 sometimes it is left unadorned4 ,,other ,,paraphernalia4 ,as to the fool's properties1 he always carries1 after the time-honoured fashion of the clown1 a bladder swinging on the end of a stick1 or ladle2 in some parts1 even to-day1 he is observing custom if he has a cow's tail on the other end3 this to be used also to whack the unsuspecting looker-on4 ,the hobby-horse is1 fundamentally1 of wicker or some stout fabric stayed with wood1 having a hole from which its rider1 or footman1 emerges to the waist1 and is slung upon his shoulders in the familiar manner4 ,the horse's head and tail1 a pair of stockings stuffed and shod--and ludicrously disproportionate to the bulk of the horseman2 the bit and bridle and caparison1 may all be fashioned according to the horseman's humour4 99 99 99 99 99 ,illustrations of ,shakespeare and of ancient manners4 ,two vols4 ,london1 #ahjg4 ,francis ,douce4 ,glig-,gamena ,angel-,deod1 or ,the ,sports and ,pastimes of the ,people of ,england4 ,london1 #ahja4 ,joseph ,strutt4 ,observations on ,popular ,antiquities4 ,newcastle-upon-,tyne1 #aggg4 ,john ,brand4 ,orchesographie1 et traicte en forme de dialogue1 par lequel toutes personnes peuvent facilement apprendre et practiquer l'honneste exercise des dances4 ,lengres1 #aehh 7since reprinted and edited by ,laure ,fonta1 ,paris1 #ahhh74 ,thoinot ,arbeau 7i4e41 ,jehan ,tabourot74 ,shakespeare and his ,times4 ,two vols4 ,london1 #ahag4 ,dr4 ,nathan ,drake4 ,robin ,hood ,ballads4 ,london1 #bnd edition1 #ahcb4 ,joseph ,ritson4 ,the ,environs of ,london4 ,four vols41 #agib-if4 ,daniel ,lysons4 ,history of ,music4 ,five vols41 #aggf4 ,reprinted1 ,novello1 ,ewer and ,co41 #ahec1 two vols4 ,sir ,john ,hawkins4 ,popular ,music of the ,olden ,time4 ,two vols4 ,london1 #ahee-ei4 ,william ,chappell4 ,shakespeare and ,music4 ,london1 ,dent and ,co41 #ahif4 ,edward ,w4 ,naylor1 ,m4,a41 ,mus4 ,bac4 ,kemp's ,nine ,daies wonder1 performed on a journey from ,london to ,norwich4 ,edited from original4 ,privately printed1 ,edinburgh1 #ahhd4 ,e4 ,goldsmid4 ,the ,literature of ,national ,music4 ,london1 ,novello1 ,ewer and ,co41 #ahgi4 ,carl ,engel4 ,the ,abbot4 7,note to chap4 #ad47 ,sir ,walter ,scott4 ,the ,fair ,maid of ,perth4 7,note to chap4 #bj47 ,sir ,walter ,scott4 ,shakespeare4 7,note to ,henry ,,iv41 ,part ,i47 ,steevens4 ,notes and ,queries4 ,dictionary of ,music and ,musicians4 ,four vols4 ,london1 ,macmillan and ,co41 #ahgi-ahii4 ,edited by ,sir ,george ,grove4 ,the ,transactions of the ,folk-,lore ,society4 ,vol4 #h1 #ahig4 ,a ,treatise on the art of dancing4 ,by ,giovanni-,andrea ,gallini4 ,london1 #agib4 ,dancing in all ,ages4 ,london1 #ahgi4 ,edward ,scott4 ,a ,lytell geste of ,robin ,hode1 c4 ,two vols4 ,london1 ,longmans1 #ahdg4 ,,morris ,,dance ,,tunes4 ,there is not much information about ,morris tunes to be gathered from books4 ,chappell1 for instance1 in his ,popular ,music of the ,olden ,time1 ,i41 pp4 #abe and #acj1 gives but two ,morris dance-tunes1 ,the ,staines ,morris ,tune and ,trip and ,go2 while ,mr4 ,edward ,naylor1 in the appendix to his ,shakespeare and ,music1 only prints the same number--,an ,english ,morris1 #afej 7a variant of ,chappell's ,staines ,morris ,tune71 and an ,italian ,moresca by ,claudio ,monteverde1 #afjh4 ,in ,grove's ,dictionary of ,music 7old ed471 ,,ii41 p4 #cfi1 three ,morris tunes are recorded3 ,arbeau's ,morris ,off1 a ,yorkshire melody founded on that of ,the ,literary ,dustman1 and a ,cheshire ,morris to words beginning3-- ,morris ,dance is a very pretty tune1 ,i can dance in my new shoon2 ,in an interesting and most instructive paper on ,morris-dancing in ,oxfordshire1 read by ,mr4 ,percy ,manning before the ,folk-,lore ,society1 and printed in their ,transactions for ,december1 #ahig1 five tunes are given3 ,green ,garters1 ,constant ,billy1 ,willow ,tree1 ,maid of the ,mill1 and ,bob and ,joan4 ,mr4 ,manning also quotes the names only of the following ,morris dances and songs3 ,handsome ,john1 ,highland ,mary1 ,green ,sleeves1 ,trunk ,hose1 ,cockey ,brown1 ,the ,old ,road1 ,moll o' the ,whad1 ,the ,cuckoo1 ,the ,cuckoo's ,nest1 ,white ,jock1 and ,hey ,morris4 ,the first three of these1 as well as the tunes previously mentioned1 were sung or danced by the men of ,bampton2 the remainder by the ,morris men of ,field ,assarts4 ,our own investigations enable us to add very materially to existing knowledge of this branch of the subject4 ,we have noted down between twenty and thirty ,morris tunes1 and have collected the names of several others1 which no doubt we shall eventually acquire as well4 ,the list given below consists almost entirely of tunes which are still in constant use by ,morris-men in ,gloucestershire1 ,worcestershire1 ,oxfordshire1 and ,derbyshire4 ,the figures in brackets record the number of times we have collected the same tune1 or variants of it1 from different ,morris sides4 ,laudnum ,bunches4 ,bean ,setting4 ,constant ,billy 7#c74 ,blue-,eyed ,stranger4 ,the ,rigs o' ,marlow 7#b74 ,old ,mother ,oxford4 ,the old ,woman tossed up in a blanket 7#b74 ,jockie to the ,fair4 ,rodney4 ,how d'ye do8 ,trunkles 7#d74 ,country ,gardens4 ,brighton ,camp 7,the ,girl ,i've left behind me7 7#b74 ,shepherd's ,hey 7#c74 ,bluff ,king ,hal4 ,we won't go home till morning4 ,princess ,royal 7#b74 ,heel and ,toe4 ,morris ,off4 ,green ,sleeves4 ,hey ,morris4 ,the ,cuckoo's ,nest4 ,swag and ,boney4 ,the ,gallant ,hussars4 ,the ,british ,grenadiers4 ,the ,vicar of ,bray4 ,the ,sherborne ,jig4 ,belle ,isle's ,march4 ,two ,derbyshire tunes 7,this is it1 and ,that is it47 ,it must be remembered that our investigations have up to the present been confined within a limited area1 and that we have not yet attempted to deal with the northern counties of ,england4 ,the experience1 however1 that we have already acquired is enough to prove that there are a much larger number of traditional ,morris tunes still to be found in country districts than most people would imagine4 ,unfortunately1 many ,morris sides have been disbanded within the last two or three decades1 and our field of work is therefore becoming more and more restricted2 for it is difficult1 and in many cases impossible1 to acquire accurate information unless the ,morris side is actually in being4 ,we intend1 however1 to continue our inquiries without pause1 in order that we may collect all the existing tunes and other information upon this most interesting subject before it is too late4 ,we append some notes on the tunes which we are publishing in connection with this volume1 with the exception of ,bean ,setting1 ,trunkles1 and ,laudnum ,bunches1 about which we know nothing4 ,,notes ,,on ,,morris ,,tunes4 ,,how ,d',,ye ,,do8 ,compare ,blowzabella1 my bouncing ,doxie1 in d',urfey's ,pills to purge melancholy1 ,i41 p4 #aij 7,ed4 #agai74 ,,rigs ,o' ,,marlow4 ,this air is printed in ,burke ,thumoth's collection of ,irish ,airs 7#agbj71 in ,holden's ,old ,irish ,tunes 7#ahjf71 and in ,songs of ,ireland1 p4 #afd 7,boosey74 ,t4 ,crofton ,croker quotes the words of the original song in ,the ,popular ,songs of ,ireland 7#ahci71 of which the first verse is as follows3-- ,,air--,sandy lent the man his ,mull4 ,beauing1 belling1 dancing1 drinking1 ,breaking windows1 damning1 sinking1 ,ever raking1 never thinking1 ,live the rakes of ,mallow4 ,mr4 ,kimber1 the leader of the ,headington ,morris1 could only give us the first verse of their song1 which1 however1 is quite different from the ,irish words3-- ,when ,i go to ,marlow ,fair ,with the ribbons in my hair1 ,all the boys and girls declare1 ,here comes the rigs o' ,marlow4 ,mallow is in ,county ,cork and was a fashionable watering-place in the eighteenth century1 when it was known as the ,irish ,bath4 ,croker says that the young men of that fashionable water-drinking town were proverbially called the rakes of ,mallow1 and he adds3 ,a set of pretty pickles they were1 if the song descriptive of their mode of life1 here recorded after the most delicate oral testimony1 is not very much over-coloured4 ,neither the ,oxfordshire nor the ,gloucestershire ,morris-men1 from both of whom we recovered this tune1 had probably heard of ,mallow2 it was natural enough1 therefore1 to substitute ,marlow1 which1 of course1 they know very well4 ,,country ,,gardens4 ,this is the prototype of ,the ,vicar of ,bray1 and ,mr4 ,kidson tells us that he has it in an old book of airs under the more ancient title4 ,it is also called ,the ,country ,garden in ,playford's ,dancing ,master1 and in ,chappell's ,national ,english ,airs1 ,nos4 #be and #bf4 ,chappell gives it in #c-d time1 and remarks that it then becomes a plaintive love ditty instead of a sturdy and bold air4 ,,shepherd',s ,,hey4 ,this air bears some resemblance to ,the ,faithful ,shepherd in ,thompson's ,complete ,collection of ,country ,dances 7circa #agge71 which is reprinted in ,mr4 ,kidson's ,old ,english ,country ,dances1 p4 #aj4 ,,constant ,,billy4 ,this is a variant of the ,constant ,billy printed in ,playford's ,dancing ,master 7#agbf71 p4 #agj1 and also in one of ,walsh's dancing books4 ,it is also in ,gay's ,beggars' ,opera1 where it is set to the words1 ,cease your funning4 ,mr4 ,kidson tells us that the air is known in old books as ,over hills and lofty mountains or ,lofty mountains4 ,the well-known ,welsh air ,the ,ash ,grove is but another version of the same tune2 but whether the ,welsh derived the air from ,england or vice versa is a moot point4 ,the matter is discussed1 at some length1 in ,chappell's ,popular ,music of the ,olden ,time1 p4 #ffe1 to which the reader is referred4 ,the air that we print is as the ,headington ,morris-men played it2 but we also recovered a variant of it from the ,bidford dancers4 ,the ,constant ,billy of the ,bampton men1 already mentioned1 is yet another variant1 but in the olian mode4 ,the words of the first verse of the ,headington version were as follows3 ,o ,constant ,billy1 ,shall ,i go with 'ee8 ,o when shall ,i see ,my ,billy again8 ,the ,bampton words were different3 ,o my ,billy1 my constant ,billy1 ,when shall ,i see my ,billy again8 ,when the fishes flies over the mountains ,then you will see your ,billy again4 ,,blue-,,eyed ,,stranger4 ,mr4 ,kidson tells us that this is a variant of ,the ,mill1 ,mill1 ,o in ,orpheus ,caledonius1 ,i41 p4 #dj 7#agbe74 ,it has also some points in common with ,just as the tide was a-flowing in ,folk-,songs from ,somerset1 ,,ii41 ,no4 #cg 7and note74 ,,bluff ,,king ,,hal4 ,this is a version in the major mode of ,the ,staines ,morris ,tune1 published in the first edition of ,playford's ,dancing ,master1 and reprinted in ,chappell's ,popular ,music of the ,olden ,time1 ,i41 p4 #abf4 ,how it has come to be christened ,bluff ,king ,hal we do not know unless1 as ,mr4 ,kidson suggests1 the ,bidford ,morris men have taken the name from some modern collection of old ,english dances4 ,,morris ,,off4 ,as has already been stated1 this tune1 which was given us by the ,bidford ,morris dancers1 is printed in ,thoinot ,arbeau's ,orchesographie1 p4 #id4 ,a ,dutch version of the same air is included in a collection of dance-tunes by ,tielman ,susato 7,antwerp1 #aeea72 and is reprinted in ,carl ,engel's ,literature of ,national ,music1 p4 #ef4 ,see also ,grove's ,dictionary of ,music 7old ed47 ,,ii41 #cfi4 ,,the ,,dance4 ,the ,morris ,dance is essentially a manifestation of vigour rather than of grace4 ,this is probably true of all country dances3 it is pre-eminently true of the ,morris dance4 ,it is1 in spirit1 the organized1 traditional expression of virility1 sound health and animal spirits4 ,it smacks of cudgel-play1 of quarter-staff1 of wrestling1 of honest fisticuffs4 ,there is nothing sinuous in it1 nothing dreamy2 nothing whatever is left to the imagination4 ,it is a formula based upon and arising out of the life of man1 as it is lived by men who hold much speculation upon the mystery of our whence and whither to be unprofitable2 by men of meagre fancy1 but of great kindness to the weak3 by men who fight their quarrels on the spot with naked hands1 drink together when the fight is done1 and forget it1 or1 if they remember1 then the memory is a friendly one4 ,it is the dance of folk who are slow to anger1 but of great obstinacy--forthright of act and speech3 to watch it in its thumping sturdiness is to hold such things as poinards and stilettos1 the swordsman with the domino1 the man who stabs in the back--as unimaginable things4 ,the ,morris dance1 in short1 is a perfect expression in rhythm and movement of the ,english character4 ,,the ,,morris ,,step4 ,as we have told already1 the ,morris dance is a bodily manifestation of vigour and rude health1 and not at all of sinuous grace or dreaminess4 ,this will be obvious at a glance to anyone who watches the traditional ,morris dancer at his evolutions4 ,the first step1 therefore1 towards acquiring the true art of the ,morris-man is to put away all thought and remembrance of the ballroom manner--really to unlearn1 so far as possible1 the lessons of the dancing-master and all his exhortations upon and exhibitions of glide1 pirouette1 chassez2 the pointed toe1 the gently swaying body1 the elegant waving and posturing such as become the finished performer of round and square dances in the drawing-room4 ,to say1 put away for a while these methods is to put no slight upon them1 or to offer a word of criticism3 it is requisite and necessary1 even as one should advise a change of clothing to somebody about to quit the ballroom for some rough-and-tumble pastime in the open fields4 ,firstly1 as to the manner of the steps4 ,the ,morris-men wear bells strapped to their shins2 the bells are there that they may ring their music--and a fine wholesome music it is1 too3 to ring1 they must be well shaken2 to be shaken1 the leg they are strapped to must be kicked and stamped4 ,get that principle into your head1 and that practice into your legs1 and you make the first long stride towards acquisition of the art of ,morris dancing4 ,strap a set of bells to your shins1 get out upon a grass-plot or the ,king's highway2 never mind elegance or the criticism of the emasculate modern3 kick and stamp upon the earth in such a manner as to make your bells ring their loudest1 and ring all together4 ,you will see pretty soon that1 to do so1 you must1 when you jump1 let the heels come solidly to earth1 immediately following the toes--no man1 even an old-time ,morris-man1 may jump and alight upon his heels alone1 with the spine held rigidly above them 7see p4 #cc74 ,you will find also that1 in stepping it1 whether to advance or retire1 or to step rhythmically in one place1 to make your bells ring the true fortissimo you must kick1 and kick hard4 ,half an hour's experiment of this kind will do more to instil into the would-be dancer the spirit that presides at ,morris revels than chapters of exhortation4 ,it is a robust and friendly spirit1 and will set the learner's steps--given that he be of ,english blood1 or even of ,anglo-,saxon sympathy--a-thumping to its solid downrightness4 ,once possessed of the spirit1 the form of the ,morris step needs little explanation and description1 for the steps are few and simple4 ,with an eye upon the foregoing notes and1 it is hoped1 a personal memory of the experiment as recommended1 the learner will readily grasp the description that follows here4 ,roughly1 the ,morris step is alike throughout all the dances2 it varies only in force1 length 7i4e41 the length of the stride varies more or less71 and height 7i4e41 the foot is lifted more or less74 ,the foot1 when lifted1 is never drawn back1 but always thrust forward4 ,the toe is never pointed in line with the leg1 but held at a right-angle to it1 as in the standing position4 ,the foot1 therefore1 the forward or stepping foot1 is lifted as in walking1 as if to step forward1 then the leg is vigorously straightened to a kick1 so as to make the bells ring4 ,at the same instant that the forward leg is straightened1 a hop is made on the rear foot2 the dancer alights upon the toe1 but lets the heel follow immediately and firmly1 so that he stands upon the flat foot4 ,a good snap-shot photograph of one in the act of walking1 when the forward foot has made about three-fourths of its stride1 gives a perfect illustration of the ,morris dancer's step4 ,as with the step1 so also with the jump1 which in so many cases begins and ends a measure2 the dancer jumps1 roughly1 as high as his own foot1 holding when in air legs and body straight1 alighting upon the toes1 but only so as to break the shock sufficiently for comfort1 then letting the heels come firmly down4 ,in alighting from the jump1 the knees are bent just enough to save the dancer from injurious shock1 and are straightened immediately4 ,such are the ,morris step and jump2 the jump never varies2 the step does vary as to height1 length and vigour of stride1 as will presently be noted4 ,it must1 however1 constantly be borne in mind that1 high or low1 there is always sturdiness in the ,morris step2 to ,morris-men the languorous and the lackadaisical are for ever unknown4 ,for the purposes of compiling a notation1 we have classified the steps necessary to the dances described into two1 as follows3-- ,in the step most commonly used the raised foot is thrust forward only so far that1 when the leg is straightened to the kick1 the forward heel is roughly the length of the dancer's foot in advance of the toe of the rear or supporting foot4 ,this step1 it must be remembered1 will be used always1 except when specific instructions are given to make it higher or lower4 ,in the high step1 used chiefly in the figures called ,capers 7see p4 #ej71 the dancer must1 if his activity will allow of it1 raise the forward foot until its toe is as high as the knee of the rear or supporting leg4 ,it is an exercise not to be attempted all at once in its completeness1 because it is one well calculated to send the inexperienced enthusiast sprawling on his back4 ,its study should be approached gently1 by way of familiarity with the simpler movement1 which1 once it is mastered1 may easily be extended to the harder one4 ,the latter must be approached with caution--that is all4 ,and the novice is to bear constantly in mind that1 in the matter of vigour1 he simply cannot put too much of it into his ,capers4 ,there will be little trouble about his remembering that1 however2 the ,morris ,caper-music will not let him forget it for a moment4 ,this step is called in the ,notation--,high4 ,it has always to be remembered that in ,morris dancing1 unless definite instructions be given to the contrary1 every movement or part of a movement is begun by stepping out with the right foot4 ,,diagrams ,,of ,,morris ,,steps4 ,,with ,,notation ,,marks ,,added4 ,steps used in #d-time music 7whether simple or compound74 ,the letters ,r and ,l signify right or left foot4 ,illustration3 ,,beats #a #b #c #d ,,steps ,r ,l ,r ,l ,this is called in the ,notation--#d_/a4 ,illustration3 ,,beats #a #b #c #d #a #b #c #d ,,steps ,r ,r ,l ,l ,r ,r ,l ,l ,this is called in the ,notation--#d_/b4 ,illustration3 ,,beats #a #b #c #d #a #b #c #d ,,steps ,r ,l ,r ,r ,l ,r ,l ,l ,this is called in the ,notation--#d_/c4 ,illustration3 ,,beats #a #b #c #d #a #b #c #d ,,steps ,r ,r ,r ,r ,l ,l ,l ,l ,this is called in the ,notation--#d_/d4 ,,steps ,,used ,,in #f-,,time 7i4e41 ,,compound #b74 ,,with ,,notation ,,marks ,,added4 ,illustration3 ,,beats #a #b #c #d #e #f #a #b #c #d #e #f ,,steps ,r ,l ,r ,l ,this is called in the ,notation--#f_/a4 ,illustration3 ,,beats #a #b #c #d #e #f #a #b #c #d #e #f ,,steps ,r ,r ,l ,l ,r ,r ,l ,l ,this is called in the ,notation--#f_/b4 ,illustration3 ,,beats #a #b #c #d #e #f #a #b #c #d #e #f ,,steps ,r ,l ,r ,r ,l ,r ,l ,l ,this is called in the ,notation--#f_/c4 ,these steps are perfectly simple1 and all but one may be learned at a glance1 even by one who has no knowledge of music1 for such a one has only to keep his eye upon the beats1 which give the rhythm4 ,the exception--the only one that presents a difficulty at first--is the one marked #d_/c and #f_/c1 these two being one1 since only the time differs2 the feet step the same in each4 ,a hint will make this step come as easily as the rest4 ,let the beginner in temporary difficulty with it bethink himself of the polka-step2 sing a stave of the polka1 and dance round the room to it4 ,he will find that his feet are stepping exactly in order of the ,morris #d_/c and #f_/c step--left1 right1 left1 hop-left2 right1 left1 right1 hop-right1 and so on4 ,now1 all he has to do in order to adapt the polka to the ,morris four-time step of #d_/c is1 firstly to manage his feet as described1 then to make the hop at end of each bar of the polka not as it were a dotted note1 but in even measure with the other beats3 for the last step of each bar to ,morris four-time music is a hop1 as in the polka1 but in even time and in the ,morris fashion4 ,now1 having adapted the polka step to the ,morris #d_/c1 let the learner simply count six to the bar and step to it in exactly the same way4 ,he will find1 given just an average ear for rhythm1 that he will soon be dancing thus1 counting as he #a #b #c #d #e #f dances--#a1 #b1 #c1 #d1 #e1 #f--,right--left1 ,right--right2 #a #b #c #d #e #f ,left--right1 ,left--left4 ,having mastered these1 one last instruction may be given4 ,the #d_/c ,morris step is occasionally varied1 so as to make it exactly like the polka-step--that is1 with the final hop danced like a dotted note2 like a quaver1 if the music be in common time4 ,this is a variation practised occasionally by the ,morris men themselves1 and the enthusiastic amateur will find himself dropping into it occasionally1 following his enthusiastic leader4 ,no instructions for this changing of the step will be given in the ,notation1 for it cannot be specified4 ,the whole side will fall into it naturally1 upon occasion3 for instance1 where there is a long stretch of the step1 danced in one position1 couples facing1 arms swinging and handkerchiefs waving1 as in ,blue-eyed ,stranger4 ,this is fairly intoxicating to the dancer1 and here the hop will often suggest itself4 ,and again1 in hurrying1 if one gets left behind a pace1 as1 for instance1 in the ,chain4 ,but to hop1 or not to hop1 unevenly in the #d_/c step1 that is a matter that will be easily arranged by the spirit of the dancers and the discretion of their leader4 ,we desire merely to indicate a rule that1 upon occasion1 may be agreeably infringed4 ,,positions1 ,,and ,,change ,,of ,,position4 ,the ,morris side1 when in position for dancing1 stands in1 or returns to1 the positions as shown hereunder4 ,the only exception to these is the ,ring1 as explained below4 ,,position #a 7,,column74 ,,position #b 7,front74 #a #b #a #b #c #d #c #d #e #f #e #f ,thus the six stand in two parallel lines of three each4 ,the top1 as the rule is in dancing1 is set towards the music4 ,the angles represent the dancers3 the apex of each angle points as the dancer's face is turned2 the numbers within the angles will be used throughout in describing movements of individual dancers4 ,the dancer at the top left-hand corner1 ,no4 #a1 is invariably the leader of the side4 ,no figure is completed1 and no dance can end1 until ,no4 #a has returned to his place at the top left-hand corner4 ,it is the duty and privilege of ,no4 #a to call loudly and clearly the name of each figure or part of a figure as each falls due for performance--,corners1 ,chain1 ,back-to-back1 and so forth1 and to announce the end of the dance by the call of ,all in4 ,in ,position #a1 or ,column1 the dancers stand in two files1 and all face the same way4 ,this is called in the ,notation--,column1 or ,col4 ,in ,position #b1 or ,front1 the dancers are turned inward1 and face each other in pairs4 ,this is called in the ,notation--,front1 or ,fr4 ,the change of position1 from ,column to ,front1 or vice versa1 whether made by jumping or by stepping to measure1 is executed invariably thus3-- ,to change ,column to ,front the dancers turn inward4 ,thus1 in ,position #a1 ,nos4 #a1 #c1 and #e make a half-turn to the right2 ,nos4 #b1 #d1 and #f make a half-turn to the left4 ,to change ,front to ,column1 in ,position #b1 ,nos4 #a1 #c1 and #e will make a half-turn to the left2 ,nos4 #b1 #d1 and #f a half-turn to the right4 ,in changing from ,column to ,front when the column is reversed--that is1 the dancers having their backs to the music--the half-turns as given above will be reversed also4 ,as for the distance to be maintained between individual dancers1 whether in ,column or ,front1 the files 7i4e41 odd and even numbers7 should stand so far apart that1 when arms are extended1 the hands of each will overlap his neighbour's hands4 ,the distance between the files will vary according to the nature of the dance4 ,in the ,stick and ,handkerchief dances1 pairs 7,nos4 #a and #b1 c47 stand near enough to clap hands or tap sticks with each other4 ,in the ,corner dances1 as will readily be seen from the descriptions and ,notation1 the files must be well apart to give plenty of room for the necessary movements4 ,the right distance will easily be found2 roughly1 the side should form a square measuring some twelve feet each way4 ,in the ,notation1 the term ,partners is used to denote the pairs as they stand fronting or abreast1 ,nos4 #a and #b1 #c and #d1 #e and #f4 ,the term ,opposites is used in referring to couples when they must change places1 or re-change1 as in ,corners and ,capers1 ,nos4 #a and #f1 #b and #e1 #c and #d4 ,the latter couple1 the centres1 it will be noticed1 will have both terms applied to them1 according as the movement described is ,corners or ,capers1 or another1 such as hand-striking4 ,in some dances1 as1 for instance1 in ,bean-setting1 the side forms a ring1 and many dances end in this formation4 ,instructions for this1 as and where it occurs1 will be found in the ,notation1 and will be marked under ,formation1 thus3--,ring4 ,,evolutions4 ,here follows a detailed description1 with diagrams1 of the various evolutions necessary to the dances which we have embodied in this series2 to each evolution a ,notation word is attached4 ,the best way for a teacher who has never seen the dances performed1 yet wants to teach them from the book1 is to study the diagrams and learn by heart the ,notation word for each4 ,he should then stand a side upon the floor1 make them go through the evolutions by word of command1 or ,notation word1 slowly1 as described2 counting the beats1 but without music4 ,this manner of beginning is advised only when the teacher has nothing but the book for guide3 where an experienced dancer is available we have found it best for the novices to set to at once upon the dance2 the practised one showing steps1 evolutions1 c1 as they occur4 ,,down-,,and-,,back2 ,,and ,,up-,,and-,,back4 ,this movement occurs at the beginning of so many dances that to simplify matters it will be described here1 and symbols will be attached to the description and used in the ,notation4 ,the movement is executed as follows3 ,the side stands in ,column1 and starts by advancing for the first two bars1 and retiring for the second two bars4 ,each file advances and retires its own length2 that is1 ,nos4 #a and #b will move ahead1 the others following1 until ,nos4 #c and #f have come to the places of ,nos4 #a and #b2 in the next two bars all get back to position4 ,the two bars' advance is made always according to the time of the music1 either at #d_/c or #f_/c step3 the two bars' retiring is always made at #d_/b or #f_/b step 7see p4 #dh74 ,the whole movement is made in eight bars4 ,in one dance1 the second four bars are danced the same way as the first four2 but in all the others the ,column is reversed at the end of the first four bars4 ,the two ways of executing the movement will be marked in the ,notation as follows3 ,when the side is to advance and retire twice1 without reversing at end of fourth bar1 and is to form ,front at the end of bar #h1 this will be marked in the ,notation1 so3 ,,music4 ,,movements4 ,,formation4 ,a4 ,down-and-back twice1 then j4 ,col4 to ,fr4 7,forming ,fr47 ,when the side is to advance and retire1 reversing position at beginning of fifth bar1 and in bars #e to #h facing the opposite way1 then at end of bar #h forming ,front1 this will be found marked in the ,notation1 so3 ,,music4 ,,movements4 ,,formation4 ,a4 ,down-and-back1 ,ju4 ,column4 ,up-and-back1 j4 7forming ,fr47 ,col4 to ,fr4 ,,the ,,chain4 ,this movement is also completed in eight bars4 ,in the following diagram 7,figs4 #a1 #b1 and #c7 the movements of the leading three1 ,nos4 #a1 #c1 and #e1 are shown separately to avoid confusion4 ,to begin the ,chain the side stands in ,column 7see p4 #dh74 ,no4 #a turns outward1 that is1 to the left1 and goes forward in an ,s-shaped double curve as shown1 passing in the middle of the curve the place of ,no4 #c1 and finishing in the place of ,no4 #e4 ,no4 #c starts out to rightward1 and goes in a circle1 in the second half of which he is following the first half of ,no4 #a's track4 ,no4 #e starts to leftward1 making a double curve as ,no4 #a1 but opposite1 passing in the middle of it the place of ,no4 #c1 and finishing in the place of ,no4 #a4 ,illustration3 ,fig4 #a4 ,illustration3 ,fig4 #b4 ,illustration3 ,fig4 #c4 ,therefore1 ,no4 #h follows ,no4 #a1 and ,no4 #e follows ,no4 #c round the track of an imaginary figure #h1 or double circle1 for that is the shape of the completed movement4 ,thus3 ,illustration3 ,fig4 #d4 ,illustration3 ,fig4 #e4 ,,note4--,at middle and completion of ,chain1 all turn inward1 as shown in ,fig4 #e1 and face partners as they jump 7see p4 #dh74 ,at the end of the second bar1 ,no4 #e should be at ,no4 #c's place1 in the centre of the figure2 ,no4 #a should have already passed it1 and ,no4 #c be coming to it1 so that ,no4 #e passes between ,nos4 #a and #c4 ,in second half of ,chain1 same positions are to be observed4 ,in the second four bars1 for completion of the ,chain1 the movements already described are simply reversed4 ,as ,no4 #a is always leader 7see p4 #ch71 and must turn outward and be followed by ,nos4 #c and #e on the lines of the figure #h1 he must now return to his station along the double curve travelled in the first four bars by ,no4 #e4 ,no4 #c must follow ,no4 #a in the other circle of the #h1 and ,no4 #e must get back to his station along the double curve travelled in the first four bars by ,no4 #a4 ,thus3 ,illustration3 ,fig4 #f4 ,illustration3 ,fig4 #g4 ,the ,chain is danced by ,nos4 #b1 #d1 and #f precisely in the same way3 ,no4 #b is always leader2 always turns outward2 and ,nos4 #d and #f always follow ,no4 #b on the lines of the double curve1 or figure #h4 ,no4 #f1 as ,no4 #e1 passes between ,nos4 #b and #d1 in chaining4 ,occasionally1 as for instance in ,country ,gardens1 the term ,half-chain will be found4 ,this means that the movement shown in ,fig4 #d is executed to four bars of music2 another movement follows2 then ,half-chain again1 bringing numbers back to original stations4 ,if1 as very often occurs1 the ,chain follows a movement executed in ,front formation1 the dancers simply turn and follow one another as shown in diagrams1 when the ,chain music begins4 ,this is called in the ,notation--,chain4 ,,cross-,,over4 ,this movement is executed in ,front formation1 to eight bars of music1 as follows3 ,in the first two bars each dancer crosses over and takes the place of his partner1 setting the pairs back to back1 thus3 ,illustration3 ,fig4 #a4 ,illustration3 ,fig4 #b4 ,in crossing and re-crossing1 invariably1 each must keep his partner to the right1 that is1 the right shoulder of each passes by the right shoulder of each partner4 ,in bars #c and #d 7keeping up the step all the time7 all come to the right-about1 that is1 face inward again1 by turning to the rightward 7maintaining position all the time71 thus3 ,illustration3 ,fig4 #c4 ,illustration3 ,fig4 #d4 ,in bars #e and #f all cross over again1 right shoulder to right shoulder1 bringing the side back to back and in original stations4 ,in bars #g and #h all make a full turn to the right 7as in ,fig4 #c7 bringing the side again to ,front4 ,as there are two bars to turn in after crossing over1 and again after re-crossing1 the dancer must1 of course1 turn slowly and evenly1 so that the turn is completed just in time for the jump in bars #d and #h4 ,this is called in the ,notation--,cross-over4 ,,back-,,to-,,back4 ,as with the ,cross-over1 this movement is completed in eight bars4 ,in the first four bars partners advance1 right shoulder to right shoulder1 but not touching1 pass one another1 move to the right1 re-pass partners 7left shoulder to left shoulder71 and retire to position1 moving backwards4 ,thus3 ,illustration3 ,fig4 #a4 ,in bars #d to #h partners advance1 left shoulder to left shoulder1 pass1 move to the left1 retire backwards1 re-passing right shoulder to right shoulder1 and so to original station4 ,thus3 ,illustration3 ,fig4 #b4 ,this is called in the ,notation--,back-to-back4 ,,go-,,and-,,come4 ,this is a form of the ,cross-over1 but made without turning4 ,it is executed in ,front formation1 to eight bars of music4 ,in the first two bars partners cross exactly as in the ,cross-over--right shoulder to right shoulder4 ,in bars #c and #d1 instead of turning1 retire backwards in the line they crossed--right shoulder to right shoulder4 ,in bars #e and #f they cross again1 but left shoulder to left shoulder1 and in bars #g and #h retire on the same line--left to left again4 ,this is called in the ,notation--,go-and-,come4 ,,the ,,ring4 ,in this1 wherever it occurs1 partners simply alter positions so that the whole side forms a ring1 or circle4 ,it is sometimes used at the finish of a dance2 and in ,bean-setting it occurs at the beginning4 7,see diagrams1 p4 #ea47 ,this is called in the ,notation--,ring4 ,,steps ,,in ,,foregoing ,,evolutions4 ,unless special instructions are given to the contrary1 the step used in bars #a and #b of ,chain1 ,cross-over1 ,back-to-back and ,go-and-come1 is always #d_/c or #f_/c1 according to time1 and #d_/b or #f_/b in bars #c and #d2 likewise1 #d_/c or #f_/c in bars #e and #f1 and #d_/b or #f_/b in bars #g and #h4 ,,the ,,jump4 ,the manner of the ,jump has been described already 7see p4 #cc74 ,it remains to tell of the different ways in which the movement is employed1 and to assign to each a ,notation number4 ,the ,jump is used in two ways only1 as follows3-- #a4 ,in position4 ,that is1 the dancer jumps where he stands1 without changing front4 ,this is called in the ,notation--,ju4 #b4 ,to make a half-turn4 ,that is1 in military phrase1 to make a half-right--or left--turn4 ,this is called in the ,notation--j4 ,for direction--to left or right--of turning1 see instructions under ,positions1 and change of position4 ,the following rules as to the ,jump apply to ,handkerchief and ,corner dances1 and are invariable4 ,in ,stick dances tapping to a great extent takes the place of jumping1 but in these1 where the ,jump is to be used1 it will be found marked in the ,notation4 ,movements of the hands1 which invariably go with the ,jump1 will be found under heading ,the ,hands4 ,the first general rule is this3 ,every dancer whose turn it is to execute any movement whatsoever1 must jump on last half-bar before that movement begins4 ,this applies1 as the case may be1 to the whole side1 or to any pair of opposites about to execute any figure or movement4 ,for instance1 the whole side is to dance ,down-and-back and ,up-and-back1 so on last half-bar of ,once to ,yourself1 the whole side jumps together--then starts the figure4 ,also in all figures executed by the whole side in common--in ,chain1 ,cross-over1 ,back-to-back1 ,go-and-come--all jump together on last half-bar before the figure begins4 ,it is the same with pairs or opposites4 ,in ,corners and ,capers each pair whose turn it is to dance together jump on last half-bar before they begin4 ,as each pair finishes the next must be ready to jump on last half-bar before their turn4 ,so with the third pair2 and as they finish1 and the whole side takes up the next figure in common1 then the whole side jumps together on last half-bar4 ,so much for the ,jump as an invariable preliminary to all figures in the ,stick and ,handkerchief dances4 ,we come now to the ,jump as made at the middle and end of figures4 ,in the first place there are the figures executed by the whole side in common4 ,all1 then1 having jumped on last half-bar before the figure is begun1 jump also at middle and end of the figure as follows3-- ,in ,down-and-back1 ,ju41 ,up-and-back1 j4 7forming ,fr471 see ,notation1 the side goes forward and back as described 7see p4 #dj7 for four bars2 jumps together on half-bar of bar #d1 still facing in the same direction4 ,that completes ,down-and-back1 ,ju4 ,then1 instantly1 they all make a complete turn to the right--right-about--dance as before in bars #e to #h1 and on last half-bar of bar #h all jump1 and as they jump make a half-turn inward4 ,that completes ,up-and-back1 j4 7forming ,fr474 ,the ,chain1 though it is executed in ,column formation1 follows upon a figure executed in ,front4 ,so the preliminary jump1 before beginning ,chain1 is made ,front2 files make half-,chain1 end numbers change places1 and at half-bar of bar #d1 all jump1 j41 in a half-turn to ,front2 then complete ,chain and jump to ,front again1 j41 on last half-bar of bar #h4 ,in ,cross-over1 ,back-to-back1 ,go-and-come1 all executed in ,front formation1 the whole side jumps in position1 ,ju41 at half-bar in bars #d and #h4 ,in ,corners and ,capers1 wherever opposites change places1 the rule is that they jump on last half-bar1 as they finish their part in the figure--that is1 as they complete the movement of changing or re-changing places4 ,in ,blue-eyed ,stranger1 where the whole side dances in position for eight bars1 all jump at half-bar in bar #h4 ,should the side elect to keep up the step for sixteen bars 7see p4 #ej71 then all jump at half-bar in bar #af4 ,in ,bluff ,king ,hal and ,morris ,off1 there is no ,jump at all4 ,,the ,,hands4 ,the movements of the hands are made invariably according to rule1 as follows3-- ,these rules apply1 as with the ,jump1 to all ,handkerchief and ,corner dances4 ,in making the ,jump1 the hands are always1 with rigid arms1 thrown above the head4 ,in ,down-and-back and ,up-and-back1 ,chain1 ,cross-over1 ,back-to-back1 ,go-and-come1 movements of the hands are always the same4 ,that is3 ,commencing with the preliminary ,jump1 when the hands are above the head1 on beginning of first bar1 with first step 7of #d_/c or #f_/c step71 hands are swung backward2 forward on half-bar2 back again1 beginning of bar #b1 and forward on half-bar of bar #b4 ,in bar #c 7#d_/b or #f_/b step7 the hands1 being already upward and forward1 are swung twice in a circle1 commencing inward1 so that the handkerchiefs are waved in a double circle over the head4 ,at beginning of bar #d the hands are lowered straight in line with the body1 and at half-bar of bar #d1 with the ,jump1 they are thrown straight above the head on rigid arms4 ,these movements of the hands are always the same in every ,handkerchief and ,corner dance4 ,whenever the #d_/c or #f_/c step is used the hands are swung as already described4 ,also1 wherever there are the two bars of #d_/b or #f_/b step1 the hands are also used as already described--double circle overhead2 down1 and up on the ,jump4 ,in ,capers1 wherever the #d_/a or #f_/a ,high ,step is used1 the hands are swung backward on beginning of bar1 forward and upward on half-bar2 and this movement is continued all the time the ,high ,step 7#d_/a or #f_/a7 is used4 ,the arms in all these movements described1 should really be swung as far1 both backward and forward1 as possible4 ,the ,morris-men themselves swing the arms behind to an angle of #de degrees or so2 but in the forward swing their hands are raised forward and a little higher than the head1 on arms slightly bent at the elbows4 ,,the ,,call4 ,in the ,notation it will be seen that at the end of some dances the side is instructed to ,call4 ,this means that on last half-bar all raise their voices on a high-note ,ah6 something after the manner of ,scottish dancers1 though the ,morris ,call is less of a war-whoop and more of a lusty shout4 ,,length ,,of ,,dances4 ,it must always be remembered that the ,morris-men themselves vary the length of their dances1 according to the humour of the moment1 and their freshness or fatigue4 ,a dance can always be shortened by leaving out one or more figures3 the musician will know what to do by the call of the leader4 ,in ,blue-eyed ,stranger1 for instance1 if the side is feeling particularly high-spirited1 the whole sixteen bars of ,b music may be danced2 but as a rule this will be found too long4 ,again1 to extend ,rigs o' ,marlow 7another trying dance7 the music may be played four times instead of three1 when ,back-to-back will be danced to ,a music4 ,bluff ,king ,hal1 danced to its full length as shown in the ,notation1 will as a general rule also be found too long4 ,it can easily be shortened by leaving out repetitions or certain figures4 ,in brief1 once the dances are learned it is a very simple matter1 and quite according to tradition1 to lengthen or abbreviate them in any way desired4 ,,special ,,instructions ,,for ,,various ,,dances4 ,,bean-,,setting 7,,stick ,,dance74 ,,to ,,form ,,ring4 ,this is the only one of those dances we have described that begins with the ,ring4 ,the side starts in ,column4 ,to form ,ring1 ,nos4 #c and #d move a little outward from the line as ,a music begins4 ,then all dance in ,ring formation to the right 7see ,fig4 #a7 until1 at the beginning of bar #d1 all opposites have changed places3 that is1 ,nos4 #a and #f are each in the other's position1 ,nos4 #c and #d1 #b and #e have also changed4 ,in bar #d1 files close in slightly1 j4 7i4e41 form ,column71 and tap sticks across on half-bar of bar #d4 ,in remaining four bars of ,a music form ,ring again1 and all return to position as they came 7see ,fig4 #b74 ,at half-bar in bar #h1 all j4 7forming ,column71 and partners tap sticks across4 ,illustration3 ,fig4 #a4 ,illustration3 ,fig4 #b4 ,,dibbing4 ,this is the term used in the dance1 as it is used in field and garden work1 for making a hole with a dib1 or dibber1 in the soil1 into which the seed is dropped4 ,the dance1 of course1 represents the setting of beans--more truly and largely1 the sowing of the seed in springtime4 ,in dibbing 7see small box in music7 all stoop well forward1 holding the right hands outward1 with sticks pointing to the ground4 ,the act of dibbing consists in thumping the stick firmly on the floor and at once lifting it again4 ,b4 ,bar #a4--;,dib all together at beginning and half-bar1 as shown in music 7small box74 ,bar #b4--,remain stooped2 at beginning of bar1 pairs tap sticks across--odd numbers tapping even numbers4 ,hold sticks crossed as they were tapped for remainder of bar4 ,bar #c4--;,dibbing1 as in bar #a4 ,bar #d4--;,beginning1 partners tap across2 half-bar1 ,no4 #a taps ,no4 #c4 ,bar #e4--;,beginning1 ,no4 #c taps ,no4 #e2 half-bar1 ,no4 #e taps ,no4 #f4 ,bar #f 7#i_/h time74--,beginning1 ,no4 #f taps ,no4 #d2 second beat1 ,no4 #d taps ,no4 #b2 third beat1 partners tap across1 as in bar #b4 ,in remaining six bars of ,b1 repeat dibbing and tapping as in the first six bars4 ,in the notation of ,bean-setting 7p4 #fa71 the term ,dibbing will be used to denote all the actions1 here explained in detail1 that go to the music of ,b4 ,,country ,,gardens 7,,handkerchief ,,dance74 ,in the hand-striking figure of this dance 7for hand-strokes1 see mark ,o in ,b music7 there are four movements1 as follows3-- ,each dancer strikes both hands together4 ,this is called in the ,notation that follows--b4 ,each1 with the right hand1 strikes the right hand of partner4 ,this is marked in the ,notation--r4 ,each1 with the left hand1 strikes the left hand of partner4 ,this is marked in ,notation--l4 ,each throws up hands4 ,this is marked in ,notation--u4 ,in striking1 handkerchiefs are held bunched together in the hands4 ,illustration3 ,,notation ,,of ,,hand-,,striking4 ,,beats #a #b #c #d #a #b #c #d #a #b #c #d #a #b #c #d ,,hands b b r b b l b b r l u ,,step ,r ,r ,r ,r ,l ,l ,l ,l ,r ,r ,r ,r both ,ju4 ,,constant ,,billy 7,,stick ,,dance74 ,in this1 sticks are held and used1 both in the ,a and ,b music1 as explained in ,rigs o' ,marlow 7see p4 #ee74 ,stick-tapping in ,b music is done according to the following diagram3 signs1 c41 to be read as in diagrams for ,rigs o' ,marlow 7see ,x in music74 ,the beats whereon stick-tappings occur are written in diagram as b4 7bar72 and h4-b4 7half-bar74 ,in the first bar of ,b music1 at half-bar1 ,no4 #a1 with top end1 taps butt of ,no4 #b4 ,in the second bar1 at half-bar1 ,no4 #b1 with top end1 taps butt of ,no4 #a4 ,in the third bar1 at half-bar1 ,no4 #a taps ,no4 #b as in first bar4 ,in the fourth bar1 ,no4 #a1 at the beginning1 with the butt1 taps ,no4 #b's top end2 and at half-bar1 ,no4 #a1 with top1 taps top end of ,no4 #b1 thus3-- ,illustration3 ,,diagram ,,of ,,stick-,,tapping4 ,the steps are the same for all4 ,when tapping is continued 7see ,notation7 for eight bars1 then1 in the last four1 all start on the left foot1 and step thus3 ,l4,l4,r4,r4,l4,l4,r4,l4 ,tapping is the same in first and second four bars4 ,in tapping1 of course1 odd numbers do as ,no4 #a in diagram1 even numbers as ,no4 #b4 ,,rigs ,o' ,,marlow 7,,stick ,,dance74 ,in this the sticks are held throughout by the middle1 in the manner explained 7see p4 #fj74 ,in all single-tapping passages1 to ,a music1 sticks are held slanting upward1 like a single-stick1 but with the upper arm close to the body4 ,in ,column formation1 odd numbers--that is1 leading file--hold the forearm to rightward2 even numbers--right file--hold the forearm across the body1 so that the sticks cross between files1 ready for tapping4 ,leading file always taps the other file1 which holds the sticks firm4 ,in the double-tapping1 to ,b music1 sticks are held in the middle1 hand below stick1 which is now held straight1 parallel with the ground1 advanced towards partner1 and raised about as high as the neck4 ,the following diagram will show how sticks are tapped in this movement4 ,angles and numbers1 as in p4 #ed1 c41 represent the leader and partner1 ,nos4 #a and #b3 the other pairs1 of course1 tap precisely as these two1 odd and even numbers respectively4 ,the arrows between angles represent sticks4 ,as tapping has now to be done with both ends of the sticks1 these are shown in this way4 ,the barbed end is the top1 the feather the butt-end4 ,the top is held always to the right--butt1 or barb1 to leftward of each dancer4 ,the tapping will be shown bar by bar4 ,the steps shown apply to all the dancers4 ,in the first bar of ,b music1 ,no4 #a1 with top end1 taps the butt of ,no4 #b1 on beats #c and #d1 thus3-- ,illustration3 ,,diagram ,,of ,,stick-,,tapping4 ,in the second bar of ,b music1 ,no4 #b1 with top end1 taps the butt of ,no4 #a1 on beats #c and #d1 thus3-- ,illustration3 ,,diagram ,,of ,,stick-,,tapping4 ,in the third bar of ,b music1 ,no4 #a taps ,no4 #b precisely as in bar #a4 ,same step4 ,in the fourth bar of ,b music1 ,no4 #a taps ,no4 #b on every beat1 as follows3 ,first beat1 ,no4 #a1 with butt end1 taps ,no4 #b on top end4 ,second beat1 with top end1 taps butt4 ,third beat1 with butt1 taps top4 ,fourth beat1 with top end1 taps top of ,no4 #b4 ,thus3-- ,illustration3 ,,diagram ,,of ,,stick-,,tapping4 ,this double-tapping looks complicated1 both in dance and diagram1 but is really very simple4 ,a few hints upon the most difficult bar1 the fourth1 will explain the whole4 ,in this1 on beat #a1 ,no4 #a1 to tap with his butt the top of ,no4 #b's stick1 raises the wrist and hand till the stick is above and at right-angles to ,no4 #b's1 then thrusts outward till his butt strikes ,no4 #b's top4 ,on beat #b1 ,no4 #a lowers his hand1 keeping the stick perpendicular1 moves hand to right and taps his top on ,no4 #b's butt4 ,beat #c is as beat #a2 on beat #d1 ,no4 #a simply lowers hand and taps ,no4 #b on his right1 or top end4 ,this explains all the taps that occur4 ,for the method1 which is invariable1 except where specially stated1 of holding the stick 7see p4 #fj74 ,in the second four bars of ,b1 double-tapping and steps are repeated precisely as in first four bars2 and throughout the dance it is the same to ,b music1 four bars of double-tapping1 repeated1 up to the call ,all in4 ,,bluff ,,king ,,hal4 ,in this the step is #d_/c throughout4 ,it should be danced something after the fashion of ,morris-,off1 but not quite so soberly2 yet the step is less vigorous than the normal ,morris step4 ,like ,morris-,off it has1 what with its length and staid monotony1 a quaintness all its own4 ,to teach and to learn the right way of dancing ,bluff ,king ,hal is more a matter of drill and precision than lusty abandon3 it must be danced evenly1 seriously almost1 and quite quietly1 or its true effect will be marred or lost4 ,the music is marked ad libitum3 the musician simply brings his labours to an end in whichsoever section he shall hear the warning call of ,all in4 ,even the ,morris-men themselves do not invariably go through all the movements4 ,these instructions are given in order that1 should audience or dancers weary of the exercise1 it can be curtailed4 ,where we have taught the dance to novices1 we have found1 at first1 curtailment to be advisable1 for the length and monotony of it palled4 ,later1 however1 when the learners had mastered its curious intricacies1 we found no weariness amongst them1 but a constant demand for every single movement to be performed in its traditional completeness1 and over and over again1 as long as we chose to play it4 ,we shall therefore describe it here at length1 and leave it to the tact and discretion of the teacher where and when and to what extent it shall upon occasion be abbreviated4 ,the files should stand as in ,corner ,dances--about twelve feet apart4 ,,how ,d',,ye ,,do 7,,corner ,,dance74 ,this dance1 as will be clearly seen from the ,notation 7see p4 #ge71 serves as illustration of the national method of settling quarrels--by a bout of fisticuffs4 ,all the dances are typical of the race2 this one is of course singularly so4 ,where boys are found disposed to look favourably upon the ,morris dance1 ,how d'ye do may be recommended as the very best to encourage the tendency in them4 ,there is a spice of wholesome rowdiness in the spirit of the dance that will not fail to make itself known and beloved of boys4 ,besides1 the shaking of hands before the fight1 the squaring-up for war1 and the reconciliation1 can only be given the right robustious ring and defiance by the fighting sex4 ,another most engaging feature of ,how d'ye do1 is that the notes fitting these words1 as will be found1 are sung in every instance by the dancers1 before1 during and after the encounter4 ,there is plenty of room1 there1 for a different sounding of the phrase3 for making it ring of challenge1 and strife1 and victory--also of honourable defeat1 after lusty strokes have been dealt and taken3 the next best thing to a win--sometimes even a better thing4 ,the following instructions for the dancing of ,how d'ye do must be noted in connection with the ,notation 7see p4 #ge74 ,the phrase ,how d'ye do is always sung1 by all the couples1 as marked and played in music ,b4 ,opposite pairs advance as shown4 ,they should meet together in the centre on the word do1 and shake hands1 or square up for the fight1 according to instructions4 ,having joined hands1 or squared1 and paused in the centre1 the first two pairs 7,nos4 #a and #f1 and #b and #e7 break away immediately after pause1 and back briskly to their places1 making room for the next pair4 ,there is no changing of corners in this dance4 ,the last pair 7,nos4 #c and #d7 remain in position1 holding hands or squaring up1 during pause in music1 and still remain in the attitude while bars #d and #e of ,b are played4 ,during these bars all the other dancers stand still4 ,when the music strikes into ,a section1 all take part according to instructions4 ,nos4 #h and #d loose or lower hands immediately the ,a music starts1 and take their place and part with the others4 ,,shepherd',s ,,hey4 ,,stick-,,tapping4 ,in this1 the sticks are held in the fist1 up and slanting outward1 the top as high as the head4 ,partners cross sticks1 leading file 7,nos4 #a1 #c1 and #e7 holding to the right of even numbers4 ,the tapping 7or clashing1 rather1 for here the sticks are loudly clashed together7 is done on first three beats of bars #a and #b1 and #e and #f of ,b music 7see mark ,x74 ,partners strike each other's sticks1 right1 left1 right1 according to position1 in the manner of sham fencing--the manner of brigands in pantomime4 ,while the tapping is being done all stand fast1 not moving the feet at all4 ,when the six taps are finished1 in bars #a and #b1 #e and #f1 the sticks are held crossed and in position2 and in bars #c and #d1 #g and #h all break into #d_/c step1 and keep it up throughout those bars4 ,the movement sounds absurdly simple3 so it is1 but if done with precision the effect is at once quaint and stirring4 ,,hand-,,clapping4 ,this is done with the naked hands1 handkerchiefs hanging loose from middle fingers2 and dancers should clap hands as loudly as ever they can4 ,each dancer claps hands and knees in a number of different ways1 according to explanation and diagram which follow4 ,all stand fast while clapping1 not moving the feet4 ,each individual dancer-- ,claps his hands together before him3 ,shown thus in diagram which follows b4 ,or slaps right knee with right hand r4k4 ,or slaps left knee with left hand l4k4 ,or raises right knee and claps hands under it un4r4 ,or raises left knee and claps hands under it un4l4 ,or claps both hands together1 behind him b4beh4 ,illustration3 ,,diagram ,,of ,,hand-,,clapping4 ,hand-clapping in last four bars of ,b music is a repetition of clapping in first four bars1 as shown in diagram4 ,therefore in the ,notation of this dance 7p4 #gg7 the term ,hand-clapping means clapping as shown above1 and the same repeated4 ,,on ,,holding ,,sticks4 ,unless specially instructed otherwise1 the stick is held1 whether at the end or middle1 as follows4 ,it must be grasped much as a penholder should be2 that is1 lying in the hollow at the base of the thumb1 supported by the second finger1 and with the forefinger and thumb meeting together above it1 to hold it in place4 ,,notation4 ,,music4 ,,movements4 ,,formation4 ,,bean ,,setting 7,,stick ,,dance74 ,in this dance1 the step throughout is #d_/b4 ,once to yourself4 ,partners tap across on last half-bar4 ,column4 ,a4 7#ast time74 ,ring 7see p4 #ea74 ,col4 to ,partners tap across at half-bar in ,ring4 bars #d and #h4 ,b4 7#ast time74 ,dibbing 7see p4 #eb74 ,front4 ,a4 7#bnd time74 ,cross-over4 ,partners tap across at half-bar in bars #d and #h1 that is1 at middle and end of the ,cross-over4 ,b4 7#bnd time74 ,dibbing4 ,a4 7#crd time74 ,back-to-back4 ,tap as in ,a4 7#bnd time74 ,b4 7#crd time74 ,dibbing4 ,two bars before the end1 leader calls ,all in1 whereupon all1 as they tap for the last time1 j4 outward1 forming ,column1 and ,column4 stand for a moment with sticks crossed4 ,,all ,,in4 ,,music4 ,,movements4 ,,formation4 ,,laudnum ,,bunches 7,,corner ,,dance74 ,once to yourself4 ,ju4 last half-bar4 ,column4 ,a4 ,ju4 last half-bar4 ,down-and-back1 ,ju4 ,up-and-back1 j4 7forming ,fr474 ,col4 to ,front4 ,b4 7,corners74 ,bars #a1 #b and #c ,nos4 #a and #f advance1 at #f_/c step1 ,front4 and cross to each other's place4 ,bar #d ,nos4 #a and #f 7having now changed corners71 turn about1 inward1 at #f_/c step1 till they face each other4 ,bars #e and #f ,nos4 #a and #f advance1 at #f_/c step1 to centre1 until they are face to face2 they do not touch or pass4 ,bars #g and #h ,nos4 #a and #f retire at #f_/b step1 back to corners2 and ,ju4 on half-bar of bar #h4 ,they have now changed corners4 ,b4 7,corners7 7#bnd time74 ,nos4 #b and #e change corners1 precisely as ,nos4 #a and #f in ,b1 #ast time4 ,b4 7,centres7 7#crd time74 ,nos4 #c and #d change places precisely as the others4 ,opposites have now all changed places4 ,a4 7repeat74 ,chain4 ,column4 ,b4 7,corners7 7,repeat7 ,nos4 #a and #f change corners as ,front4 #ast time4 before4 ,b4 7,corners7 7,repeat7 ,nos4 #b and #e change corners as #bnd time4 before4 ,b4 7,centres7 7,repeat7 ,nos4 #c and #d change places as #crd time4 before4 ,opposites have now all re-changed places4 ,a#b4 ,cross-over4 ,c4 7,capers7 7#ast time74 ,bar #a ,nos4 #a and #f advance at #f_/c step towards the centre1 facing each other's corners4 ,bar #b ,on beat #b1 ,nos4 #a and #f1 their right 7#i_/h time3 shoulders now level1 and almost #c beats74 touching1 jump heavily on both feet1 and advance1 at #f_/a step1 ,high1 on beat #c4 ,bar #c ,nos4 #a and #f continue advance1 #f_/a1 ,high4 ,bar #d ,nos4 #a and #f reach opposite corners and turn about to right and inward1 same step4 ,bar #e ,nos4 #a and #f advance1 #f_/a1 ,high1 7#i_/h time3 and come face to face on third #c beats74 beat4 ,bars #f and #g ,nos4 #a and #f remain facing1 and step at #f_/c step4 ,bars #h and #i ,nos4 #a and #f retire to corners at ,front4 #f_/b step4 ,ju4 on half-bar of bar #i4 ,nos4 #a and #f have now changed corners4 ,c4 7,capers7 7#bnd time74 ,nos4 #b and #e change corners precisely as ,nos4 #a and #f in ,c1 #ast time4 ,c4 7,capers7 7#crd time74 ,nos4 #b and #d change places precisely as the others4 ,a#b4 7repeat7 ,back-to-back4 ,c4 7,capers7 7,repeat74 ,movements as in first ,capers4 ,opposites re-change places4 ,but at the beginning of bar #f of #crd repeat1 leader calls ,all in1 whereupon all turn inward1 at #f_/c step1 form ,ring in the centre1 ,ring4 raise the right feet2 and on last beat1 all throw up hands and ,call4 ,,music4 ,,movements4 ,,formation4 ,,country ,,gardens 7,,handkerchief ,,dance74 ,once to yourself4 ,ju4 last half-bar4 ,column4 ,a#a4 ,down-and-back1 ,ju4 ,up-and-back1 j4 7forming ,fr474 ,col4 to ,front4 ,b#a4 ,bars #a to #d4 ,hand-striking as per ,notation ,front4 7see p4 #eh74 ,bars #e to #h4 ,half-chain4 ,column4 ,bars #i to #ab4 ,hand-striking4 ,front4 ,bars #ac to #af4 ,half-chain4 ,this completes the ,column4 ,chain4 ,c#a4 ,chain4 ,column4 ,b#b4 ,bars #a to #d4 ,hand-striking4 ,front4 ,bars #e to #h4 ,hand-striking1 repeated4 ,a#b4 ,cross-over4 ,b#c4 ,bars #a to #d4 ,hand-striking4 ,bars #e to #h4 ,hand-striking1 repeated ,c#b4 ,back-to-back4 ,b#d4 ,bars #a to #d4 ,hand-striking4 ,bars #e to #g4 ,hand-striking1 repeated4 ,beginning of bar #e1 leader calls ,all in4 ,bar #h4 ,beat #a1 all j4 7giving ,col4 ,column4 formation74 ,half-bar1 all throw up hands4 ,,all ,,in4 ,,music4 ,,movements4 ,,formation4 ,,constant ,,billy 7,,stick ,,dance74 ,once to yourself ,partners tap across1 last half-bar4 ,column4 ,a#a4 ,down-and-back1 ,ju4 ,up-and-back1 j4 7forming ,front74 ,col4 to ,front4 ,partners tap at half-bar in bars #d and #h4 ,b#a4 ,bars #a to #d ,tapping 7see diagram1 p4 #ed74 ,bars #e to #h ,half-,chain4 ,tap on half-bar in ,column4 bar #h4 ,bars #i to #ab ,tapping1 as in first #d bars4 ,front4 ,bars #ac to #af ,complete ,chain4 ,tap on last ,column4 half-bar4 ,a#b4 ,chain4 ,tap at half-bar in bars #d and #h4 ,b#b4 ,bars #a to #d ,tapping as before4 ,front4 ,bars #e to #h ,tapping as before4 ,bars #i to #af ,cross-over4 ,tap at half-bar in bars #ab and #af4 ,a#c4 ,bars #a to #d ,tapping as before4 ,bars #e to #h ,tapping as before4 ,b#c4 ,bars #a to #h ,back-to-back4 ,tap as in ,chain1 c4 ,bars #i to #ab ,tapping as before4 ,front4 ,bars #ac to #af ,tapping as before2 but in bar #ad leader calls ,all in1 and in bar #af all j4 7to ,col471 and tap across ,column4 on last half-bar1 holding sticks as at the beginning4 ,,all ,,in4 ,,music4 ,,movements4 ,,formation4 ,,trunkles 7,,corner ,,dance74 ,once to yourself ,ju1 last half-bar4 ,column4 ,a#a4 ,down-and-back1 ,ju41 ,up-and-back1 ,column j4 7forming ,fr74 to ,fr4 ,b#a4 7,corners74 7#ast time74 ,nos4 #a and #f advance at #d_/c step1 ,front4 ,bars #a to #h beginning with the left foot1 so that they are face to face at the end of bar #c4 ,bar #d ,at beginning1 ,nos4 #a and #f stamp their right feet4 ,nos4 #a and #f raise and swing their right feet and on half-bar1 strike them together1 sidelong2 then step briskly backward to their places1 making room for ,nos4 #b and #e4 ,b#a4 7,corners74 7#bnd time74 ,nos4 #b and #e do precisely as ,nos4 #a and #f in ,b#a1 #ast time4 ,b#a4 7,centres74 7#crd time74 ,nos4 #c and #d do precisely as ,nos4 #a ,front4 and #f in ,b#a1 #ast time4 ,c#a4 7,capers74 7#ast time74 ,nos4 #a and #f advance at #d_/c step2 ,bars #a and #b pass in centre1 right shoulders touching1 and get to each other's places4 ,bar #c ,nos4 #a and #f turn about1 inward and to the right1 at #d_/c step4 ,bar #d ,nos4 #a and #f advance at #d_/c step until they come face to face1 but do not touch or pass4 ,bar #e ,nos4 #a and #f retire1 at #d_/b step1 to opposite corners4 ,bar #f ,beginning1 ,nos4 #a and #f reach opposite corners4 ,half-bar1 ,nos4 #a and #f ,ju4 ,nos4 #a and #f have now changed corners4 ,c#a4 7,capers7 7#bnd time74 ,nos4 #b and #e change corners as ,nos4 #a and #f in ,c1 #ast time4 ,c#a4 7,capers7 7#crd time74 ,nos4 #c and #d change places as ,nos4 #a and #f in ,c1 first time4 ,a#a4 7repeat74 ,chain4 ,column4 ,b#a4 7repeat74 ,as before1 with the difference only ,front4 7#c times74 that pairs start with right foot so that1 in bar #d1 they stamp and strike together the left feet4 ,c#a4 7repeat74 ,as before1 ,all change places ,front4 7#c times74 again1 returning1 therefore1 to original stations4 ,a#b4 ,cross-over4 ,b#b4 ,as in ,b#a4 ,pairs start with left 7#c times74 feet1 and stamp and strike right feet in bar #d4 ,c#b4 7,capers74 7#c times74 ,as in ,c#a1 except that pairs1 in ,slower1 except changing places1 step rather in last two higher to the slower music1 also bars1 played in the last two bars of normal in original time4 ,the ,high ,step is to be time4 reserved for the ,slow ,capers in ,c#c1 and repeat4 ,a#b4 7repeat74 ,back-to-back4 ,b#b 7repeat74 ,as in ,b#a 7repeat71 pairs start with 7#c times74 right feet so that1 in bar #d1 they stamp and strike the left feet4 ,c#b 7repeat74 7#c times74 ,as in ,c#b4 ,pairs re-change4 ,capers4 ,slower4 ,a#c4 ,cross-over4 ,b#c4 ,as in ,b#a and ,b#b4 ,pairs start with 7#c times74 left feet1 and stamp and strike right feet4 ,c#c 7,capers74 7#c times74 ,as in ,c#a1 pairs change places4 ,bars #a1 #b1 #c1 #d ,in these the step is #d_/a1 and ,high in each --really as high as possible4 repetition 7very slow74 ,bars #e and #f ,in these the pairs retire1 after ,front4 in each meeting in centre1 at #d_/b step1 repetition lifting the feet as high as 7presto74 possible1 and as quickly4 ,the greater the contrast between these two quick bars and the preceding slow ones1 the better the effect4 ,a#c4 7repeat74 ,back-to-back4 ,b#c4 7repeat74 ,as in ,b#a and ,b#b 7repeats71 pairs 7#c times74 start with right feet1 and stamp and strike left feet in bar #d4 ,c#c4 7,capers7 ,very slow4 ,as in ,c#c4 ,pairs re-change to 7,repeat74 original places4 7#c times74 ,at the beginning of bar #e1 in final repetition of the music1 leader calls ,all in1 when all draw together into ,ring1 throw up the ,fr4 to ,ring4 right hands1 raise the right feet1 and ,call4 ,,all ,,in4 ,,music4 ,,movements4 ,,formation4 ,,rigs ,o' ,,marlow 7,,stick ,,dance74 ,once to yourself ,tap sticks on last two beats of ,column4 bar #d4 ,a4 7#ast time74 ,step #d_/b throughout ,a music in all repetitions4 ,down-and-back twice4 ,partners tap sticks across on last two beats of bars #d and #h2 but on making last tap but one1 j4 ,col4 to 7forming ,fr471 so that final tap ,front4 is given in ,front formation4 ,b4 7#ast time74 ,double-tapping4 7,for instructions1 ,front4 see diagram1 p4 #ee74 ,a4 7#bnd time74 ,chain4 ,tap sticks as in ,a1 #ast time4 ,b4 7#bnd time74 ,double-tapping1 as in ,b1 #ast time4 ,a4 7#crd time74 ,cross-over4 ,tap sticks as in ,a1 #ast time4 ,b4 7#crd time74 ,double-tapping1 as in ,b1 #ast time4 ,a4 7#dth time74 ,back-to back4 ,tap sticks as in ,a1 #ast and #bnd time4 ,b4 7#dth time74 ,double-tapping as in ,b1 #ast and #bnd time4 ,in bar #g1 leader calls ,all in1 whereupon all j41 giving ,col4 formation1 in which final ,column4 tap is made4 ,,all ,,in4 ,,music4 ,,movements4 ,,formation4 ,,bluff ,,king ,,hal 7,,handkerchief ,,dance47 ,once to yourself ,none4 ,front4 ,a4 ,bars #a to #d ,advance slowly1 until files are face to face4 ,on half-bar of bar #d1 partners nod to one another 7see instructions1 p4 #eg74 ,bars #e to #h ,retire to original position4 ,front ,b4 ,bars #a to #d ,mark time4 ,bars #e to #h ,advance and nod as before4 ,c4 ,bars #a to #d ,retire4 ,bars #e to #h ,mark time4 ,files link arms in last bar1 and remain linked until told to loose arms4 ,a4 ,bars #a to #d ,advance as before1 nod4 ,bars #e to #h ,retire4 ,b4 ,bars #a to #d ,mark time4 ,bars #e to #h ,advance as before1 nod4 ,c4 ,bars #a to #d ,retire4 ,bars #e to #h ,loose arms4 ,files turn very slowly about until they are reversed4 ,a4 ,bars #a to #d ,retire1 until partners' backs are all but touching4 ,bars #e to #h ,advance to original position4 ,b4 ,bars #a to #d ,mark time4 ,bars #e to #h ,retire as before4 ,c4 ,bars #a to #d ,advance as before4 ,front4 ,bars #e to #h ,mark time4 ,link arms in last bar1 and remain linked until told to loose arms4 ,a4 ,b4 ,go through same movements1 linked1 as in preceding ,a and ,b4 ,loose arms at end of ,b4 ,c4 ,files extend into single line1 facing ,line4 music4 ,to do this1 ,nos4 #a and #b advance2 ,nos4 #c and #e follow ,no4 #a2 ,nos4 #d and #f follow ,no4 #b4 ,when all are in line1 with ,nos4 #a and #b at wings1 ,nos4 #e and #f in centre1 all face music4 ,distances between dancers to be kept the same as when in file4 ,a4 ,bars #a to #d ,mark time4 ,bars #e to #h ,advance4 ,b4 ,bars #a to #d ,retire4 ,bars #e to #h ,mark time4 ,c4 ,bars #a to #d ,advance4 ,bars #e to #h ,retire4 ,link arms in last bar4 ,a4 ,b4 ,mark time1 advance and retire linked1 and mark time1 as in preceding ,a and ,b4 ,in last bar1 loose arms and join hands4 ,c4 ,form into ,ring3 ,nos4 #a and #b ,ring4 joining hands in last bar4 ,a4 7#h bars71 ,move to right1 dancers making the and ,b4 complete circle4 7,bars #a to #d74 ,b4 ,bars #e to #h1 ,move to left1 dancers nearly and travelling round circle again4 ,c4 ,bars #a to #d4 ,c4 ,bars #e to #h ,nos4 #e and #f loose hands4 ,no4 #e ,two ,rings4 joins hands with ,no4 #a1 and ,no4 #f with ,no4 #b1 forming two rings1 one to each file4 ,each ring will form round about the line of position of its numbers when in file4 ,a4 7#h bars7 ,rings move to right1 as single ,two ,rings4 and ,b4 ,ring previously1 but making ,bars #a to #d4 double circuit4 ,b4 ,bars #e to #h4 ,rings move to left1 as single ,ring and previously1 nearly double circuit4 ,c4 ,bars #a to #d4 ,c4 ,bars #e to #h ,rings break up and re-form line of ,two ,rings #f as before4 to ,line4 ,a4 ,b4 ,c4 ,line mark time1 advance1 retire1 ,line4 c41 as before1 link arms in last bar of ,c4 ,a4 ,b4 ,c4 ,line as before1 linked4 ,last #d bars ,line4 of ,c1 break into files1 in original position in ,front1 but reversed ,front4 as before4 ,a4 ,b4 ,c4 ,files reversed1 mark time1 retire1 advance1 c41 as before4 ,link arms in last bar of ,c4 ,a4 ,b4 ,c4 ,files1 reversed1 mark time1 retire1 advance1 c41 as before1 arms linked4 ,loose arms1 and turn slowly about in last #d bars of ,c1 forming ,front4 ,a4 ,b4 ,c4 ,mark time1 advance1 nod1 c41 as before4 ,link arms in last bar of ,c4 ,a4 ,b4 ,c4 ,mark time1 advance1 c41 with linked arms1 as before4 ,at the call of ,all in1 the dance ends quietly on the last four bars1 mark time1 of ,c4 ,,music4 ,,movements4 ,,formation4 ,,how ,d',,ye ,,do 7,,corner ,,dance74 ,once to ,ju4 last half-bar4 ,column4 yourself4 ,a4 7#ast time74 ,down-and-back1 ,ju4 ,up-and-back41 ,column to j4 7forming ,fr474 ,front4 ,b4 7#ast time7 ,this is the ,challenge4 ,nos4 #a and ,front4 7,corners74 #f advance and shake hands1 as ,bar #a4 described 7see p4 #eh74 ,bar #b4 ,nos4 #b and #e the same4 ,bar #c4 ,nos4 #c and #d the same4 ,front4 ,bar #d and #e4 ,nos4 #c and #d pause 7see p4 #eh74 ,a4 7#bnd time74 ,chain4 ,column4 ,b4 7#bnd time7 ,this is the ,fight4 ,nos4 #a and #f ,front4 7,corners74 advance and square up1 as ,bar #a4 shown in description 7see p4 #eh74 ,bar #b4 ,nos4 #b and #e the same4 ,bar #c4 ,nos4 #c and #d the same4 ,bars #d and #e4 ,nos4 #c and #d pause as before4 ,a4 7#crd time47 ,cross-over4 ,b4 7#crd time7 ,this is the ,reconciliation1 and 7,corners74 goes precisely as in ,b1 #ast time4 ,a4 7#dth time74 ,back-to-back4 ,b4 7#dth time7 ,this is ,good ,fellowship1 and goes 7,corners74 precisely as in ,b1 #ast and #crd time4 ,a#b4 ,cross-over4 ,as usual1 up to bar #g1 when leader calls ,all in1 whereupon all close inward into ,ring in centre2 throw up hands1 ,ring4 raise right feet on last half-bar1 and ,call4 ,,all ,,in4 ,,music4 ,,movements4 ,,formation4 ,,shepherd',s ,,hey 7,,stick ,,or ,,handkerchief ,,dance74 ,once to ,ju4 last half-bar4 ,column4 yourself4 ,a#a4 ,down-and-back1 ,ju4 ,up-and-back1 j4 7forming ,fr47 ,col4 to ,fr4 ,b#a4 ,tapping 7or ,hand-clapping74 ,front4 7,see p4 #ei47 ,a#b4 ,chain4 ,column ,b#b4 ,tapping 7or ,hand-clapping74 ,front4 ,a#a4 7#bnd time74 ,go-and-come4 ,b#a4 7#bnd time74 ,tapping 7or ,hand-clapping74 ,a#b4 7#bnd time74 ,back-to-back4 ,b#b4 7#bnd time74 ,tapping 7or ,hand-clapping74 ,a#c4 ,go-and-come4 j4 on last half-bar ,fr4 to ,col4 7to ,col474 ,to extend1 repeat ,a#a1 ,b#a1 ,a#b1 ,b#b 7#bnd time74 ,a#c4 ,dance at #d_/c quick-step1 mark time ,column4 7repeat74 7that is1 in position72 left hand 7,presto74 hanging loose1 until last half-bar1 when it is thrown up4 ,right hand holds stick across the body1 the stick slanting upward towards the right shoulder4 ,two bars from end leader calls ,all in4 ,all ,ju4 on last half-bar1 and throw up both hands4 ,,all ,,in4 ,,music4 ,,movements4 ,,formation4 ,,blue-,,eyed ,,stranger 7,,handkerchief ,,dance74 ,once to yourself4 ,ju4 last half-bar4 ,column4 ,a#a4 ,down-and-back1 ,ju4 ,up-and-back1 j4 7forming ,fr47 ,col4 to ,fr4 ,b#a4 ,all dance at #d_/c step1 mark time2 ,front4 ,bars #a to #h4 swinging hands back and forth together in time4 ,bars #g and #h to be danced in #d_/b step4 ,b#a4 ,chain4 ,column4 ,bars #i to #af4 ,a#b4 ,as previously in ,b#a1 bars #a to #h4 ,front4 ,b#b4 ,bars #a to #h4 ,cross-over4 ,b#b4 ,bars #i to #af4 ,as previously in ,b#a1 bars #a to #h4 ,a#a4 7#bnd time74 ,back-to-back4 ,b#a4 ,bars #a to #h4 ,as previously in ,b#a1 bars #a to #h1 7#bnd time74 until bar #g1 when leader call ,all in4 ,all then draw into ,ring in centre1 throw up hands ,fr4 to ,ring4 on half-bar of bar #h1 and ,call4 7,to extend this dance to full ,ring4 length of music1 see note p4 #ej47 ,,all ,,in4 ,,morris ,,off4 ,this1 as the name denotes1 is the tune to which the dancers step as they leave the scene--be it stage1 or high road1 or village green--of their performance4 ,its execution is very simple1 and there is no limit to the number of times the eight-bar measure may be played--or rather1 the limit is set according to the fancy of the leader1 for he may1 if he pleases1 and if the audience manifests no impatience1 lead his side back and forth in a serpentine track1 round and round for ever so long1 till finally they wind from the scene4 ,the step is the #d_/c step throughout1 but with a difference4 ,it is more of a plod1 with less of stamping and much less lifting of the feet4 ,morris ,off1 danced in the traditional manner1 gives one the impression of a company agreeably tired1 but pleased and comfortable1 having rollicked to their hearts' content1 and to the contentment of the lookers-on2 and being now upon the way to supper1 and to bed4 ,of course1 if they be still exuberant1 they may show it1 and stamp their lustiest2 still a demurer step will usually suggest itself as the more appropriate4 ,this quieter manner is best described as almost a slow1 very gentle trot1 the steps little longer than the foot--left1 right1 left2 and then1 on the fourth beat1 not a hop1 but a tap with the heel4 ,as for the movements4 ,after ,once to yourself1 the side marks time for #f bars1 and makes a complete right turn1 slowly1 in bars #g and #h2 then the leader1 with ,nos4 #c and #e behind him1 starts forward as described1 ,nos4 #b1 #d and #f meanwhile marking time4 ,as ,no4 #e draws level with ,no4 #b1 he falls in behind1 and ,nos4 #d and #f in order after him4 ,the side is now going slowly forward1 in the manner of ,follow my leader4 ,in every repetition of bars #g and #h1 all make a complete right turn1 as already described1 so that at the repeat of the first bar all are again facing in the course the leader shall have set4 ,the course will be set according to circumstances1 and the position of exit1 if in a room2 or1 if in the open1 the leader will wind--or in the old manner of saying1 he will hey--to some chosen point for quitting the scene4 ,to hey was to wind in and out and round about--though the term has many meanings4 ,that is the leader's business3 to lead the side across and back again1 all turning together in the last two bars1 and back and across again1 or round about occasionally1 as long as he may please4 ,suppose more than one side has been dancing2 then the leading side will start as already described1 the other1 or others1 falling in as may have been previously arranged4 ,morris ,off1 smoothly and quietly danced1 with its strange monotony1 has a fascination all its own4 ,it is farewell1 with no sorrow in it2 good-bye1 but with no dread of loneliness to-morrow2 somehow1 one cannot tell how1 all the wholesomeness of the ,morris1 and of the folk that sent it down to us1 and are with us yet1 is in this dance4 ,when the dance is over1 and the bells quiet1 there is neither surfeit nor exhaustion4 ,morris ,off is like to make one think of sound sleep and clear awakenings4 ,,the ,,end4