The Minuet According to Taubert

TILDEN RUSSELL

The Reditschaffener Tantzmeister, by Gottfried Taubert,' is a truly encyclopedicwork, a cosmolog>s so to speak, of dance in Taubert's time. Kurt Petermann, thegeneral editor ofthe facsimile edition, calls Taubert '... the first systematizer ofdance, who painstakingly surveyed the entire vast field of Tan^nst z.ccoT6\ng torational principles'/'

At 1231 pages (numbered and unnumbered), the Rechlschaffener TanlzmeisUris by far the most voluminous and compendious source for cightccnth-ccnturydance. Sadly, though, it has been among the most inaccessible and least knownsources. Printed in Fraktur, written in an old-fashioned German dignified, on theone hand, by Latinate periodic sentences, learned digressions, and polylingualterminology; yet tending, on the other, to longwindedness and repetitiousness,it has been declared 'unreadable', 'a linguistic mishmash', and 'incomprehen-sible'.' Angeiika Gerbes's dissertation, still the only full-length, English-languagestudy of Taubert. contains translations of passages from only about 100 pages ofthe original.' Hy default, decades of informed scrutiny have pri\ileged othersources while this indispensible one, with more to tell us about eighteenth-century dance than any other, remained unread. Finally, twenty-first centuryscholarship has begun responsibly to pay due attention to Taubert."

Taubert's immense treatise eonsists of three books. Book I is concernedprimarily with the history of dance and its status as a social activity. Book III isconcerned primarily with the metier of the dancing master, and the occasions andcustoms connected with soeial dance. Book II addresses the art of dancing itself,and it is longer than the other two books put together. The diseussion of theminuet begins just after the midpoint of the whole treatise; in fact the twovolumes ofthe facsimile edition are divided at Taubert's notated choreographyof the menuet ordinaire. Literally and figuratively, the minuet is at the center ofTaubert's cosmos.

Book II begins conventionally, with amplification of some of the topicsbroached in Book I: the antiquity, historieal development, biblical justifications,morality, propriety, and usefulness of dance. In Taubert's universe all physicalmovement is dance, so he next presents two great types of danee correspondingto two great categories of movement: prosaie danee (standing, walking, bowing,and costume); and poetic dance, which is dancing to music. Poetic dance isdivided into three parts: theory; praxis; and notation. Theory deals with hon air

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and 'porte le.s bras' (as Taubert often puts it); most importantly, in this section thesix uniwrsal steps, namely the pm ordinaire., pas glis.se, mouvetiienl (consisting oi'plieand eleve% demicoupe, coupi., and pas grave, are introdueed. These steps are calleduiii\ersal because they are the components of the basic steps of the threeiuiidamenta! dances: the courante, minuet, and bourree. It is necessai") toexplain them here because they will be needed when those dances, and noneother, are taught in the section on praxis.

In the praxis section Taubcrt teaches the three fundamental dances, and itis astounding that in an encyclopedic treatise of almost 1200 pages, only onecurrent danee is taught. The bourree is dispatched in three pages because it is nolonger daneed as a danee per se, although its basic step is used in other danees.The courante, too, is no longer danced, but laubert treats it respectfully andthoroughly because it is the key to learning all other dances - much as the minuetwas soon to become. Only after the section on the rrteiiuel ordinaire are more stepsintroduced, when they arc needed for variations in ihe ligured minuet. Thenotation section is a bilingual edition of Feuiliet's Choregraphie o{ \ 701. the secondedition with its supplement of tables, plus material from the Traitede la Cadanceof1704." Book II concludes with a section on theatric;il dance.

This overview of the organisation of Book II reveals that it is differentin some very significant ways from any other treatise. What is unique aboutTaubert's procedure, and what does it signify? Note that it differs almostdiametrically from that of Keuillet's Choregraphie and Recueil of 1700, takentogether as a unit, and other treatises following this model.' Feuillet begins byteaching the elements of notation, then introduces the step vocabulary, andfinally moves on to choreographies of dances of many kinds. Taubert introducesonly the minimal number of steps necessary to learn tlie three fundamentaldances in their simplest, or orditiaire, form. Then he teaches the courante andminuet thoroughly, introducing additional steps only in the context of minuetvariations. He saves Feuillet's full step vocabulary until after the three funda-mental dances have been fully described." To sum up, Feuillet's method isostensibly autodidactic in purpose, based on the student's mastering of literacyin notation, and progressing from there to the decipherment of complete danees.Taubert's method, on the other hand, presupposes the involvement of a dancingmaster; it is experiential, based on pedagogy and praxis, and it leads, in effect, tothe mastery of only one contemporary dance: the minuet.''

Taubert's is the first complete choreographic description of the rnenuelordinaire, and it is the most detailed and accurate ofits time - and probably of alltime. In Chapters XXX to XXXIV, he describes the minuet step, the minuetcadence, the principal and collateral figures, the giving of hands, and the cavalier'sconduct of his hat, culminating in a complete description - in words and fivenotated choreographic figures of one mertuet ordinaire danced from beginning toend. (He deseribes arms in the minuet earlier, in Chapter XXIII, under thetheory of poctie dance.) Compared to the surviving literature on the courante,the literature on the minuet is vast, and laubert does not differ as broadly orcritically from the generality of minuet sources as he does from courante

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sources.'" Nevertheless much of what he adds to our understanding ofthe minuetat the beginning of the eighteenth century is unfamiliar or different or uniquein some way. My remarks will focus on his most surprising or problematiccontributions.

It is important to emphasise at the outset that everything laubert has to sayabout the minuet is based on French authority and follows the central (i.e.French) tradition; it is not a provincial byway. He provides frequent imtances ofhow he has obtained treatises and news from returning travelers and itinerantdancing masters (pp. 577-81 on the courante, and pp. H18 and 623 on theminuet). This needs to be stressed because otherwise Taubert is easilymarginalised, as too often has been the case.

THE MINUET STEPThis treatise may be the first to refer to the notion that the name ofthe menuetcomes from pas menus, the tiny steps supposedly used in dancing it (p. 616).Taubert neither confirms nor denies this theory, however, and nowhere in hisinstructions for dancing the minuet does he state that the steps arc particularlysmall or dainty. It is interesting that the only step he docs single out as being tinyis the pas de bourree {or Jieurel).,'... whose name derives from the French bourre, orfiuff, as in a tuft of sheep's wool' (p. 682; also pp. 732, 1009). It is unlikely thatthis derivation could have implications for his pas de rnetmet en fieuret, since this isonly one of several types of minuet steps he describes, and he never mentions itsbeing any smaller than the others. Nor does he ever say that the numerous othersteps that can be substituted for the minuet step in minuet variations are to bedanced smaller in the minuet than when they are used in other dances.

Taubert's discussion of the minuet step testifies to his strict reliance onFrench sources. He strongly disapproves of local dancing masters who prey ontheir clients' innocence by making up new steps and dances lacking any basis inthe true art of French dancing. A perfect example of this is his description of anew minuet step:

Qiiitc recently a brand-new and hol-off-thc-prcss minuet step - different from the fourbasic types disciussed in the preceding chapter - was denionstiatcd to me, which arenowned master who claims to have taken five years of lessons with all the mostexpensive Parisian masters (hut who understood not a single word of FiTnch with anymeaning in the lan^iagr of tho ^cniiiTie an of dance) has bnjughl baik with him toGermany. And this fresh-baked minuet step consists of a \raS.{ coupe, a stiff step, another\\?i\i coupe, and a siiifstcp.

Aside from the fact that I have discussed various aspects of dance study with variousexcellent dancers who recently arrived here in Danzig fmm Paris, and could receive nocontirmalion oi a new basic minuet step, 1 am not so gullible and avid tor novelty - unlikeother residents of this place - that I would approve and accept everything reported fromthcrre as if it fell from heaven; no! I investigate the essence of thr thint^ itsrlf in order totest whether it is good or bad.

Now when I anatomise this monstnnis mintici step, il looks as strange U\ n\v a.s thevery first step from which the minuet in France developed, which wo mcniionod in the

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pr('\ ious chapter as beginning with a doubled moiwemenl. For this newfangled minuet steplimps twice on tlic left foot; not two times in a row, like the earlier one, but each time onesteps on it ...

I would Ix- hard put to persuade anyone that the ingenious Freneh, wh<; lahor dayin and day out to advance the true art of dancing, couid have been respoiisibk- forhringing this miscarriage into tlic world; rather it is my belief thai Hrrr Maitrc. liaviiigstudied to pcrrrction ihe charlatan's motto: nmndus viiH decipi, the world loves heing fooled,and having ralrulated that here there were people for whom something only has to comefrom France to he good, made up this new step out of wholr cinth to win him.sclffameand praise, But what he coined is worthk'ss (pp. 623 4)."

Taubert alludes in this tongue-lashing to a first minuet step. Here is thepassage to which he is referring:

Right from the beginning, when the minuet appeared in France, some masters weredissatisfied with the minuet step ofthe time, and bethought themselves of another, betterway to d{) it. And here it is not inappropriaic for me lo allirni how laugliahlc was the vciyfirsl minucl step (which consisted nf a douhlcd mimvemmt on one leg and ihrcr stiff steps;llii.s is documented in a French manuscript communicated to me nol long ago by aprominent man of this city ((Danzig)), who in his travelling years had received it as aspecial gift from a French master named Lctrmps, of Pans), and how from one timr toanother it has continually been changed and improved (p. 618).

This step bears no resemblance to a bransle step, or specifically to a stepfrotn the 'Bransle de Poitou,' from whieh the mintiet i.s traditionally said to bedescended (c\en though there is no evidence documenting a clear connectionbetueen these two dances). But whatever its historical antecedents, this so-calledfirst step offers insight into the aesthetics ofthe minuet step and cadence. Taubertwould f nid much wrong with such a step. Consisting of five .simple steps w ith onlythree actual changes of weight, the step would start alternately on the right andleft foot, while Taubert has all his minuet steps beginning on the right foot.He would also be displea.sed with the asymmetry of bending - twice in a row -on only one fbot during the step, a defect he finds in the pas de menuet un smimouvement, where it happens only once:

It should be observed that in this first sort of minuet step there is a noticeable inequalitybetween tlie straight and bent steps. Because the left leg hcnds only once, on the last beatof the second measure, there are five beats during whic h the legs are stiff and only one •the sixth and last, always on the left - with a bend, the result being that a minuet dancerwho makes a somewhat deep bend will unavoidably seem to limp like Mephibosheth IseeII Samtirl 4:4] (p.

Taubert draws attention to this problem of limping or bending on only one footby referring back to it in his discussion ofthe 'monstrous' new step, and it willresurface in his discussion ofthe minuet cadence.

Taubert describes four minuet steps; according to his terminology; theyare: {V)pas de menuet un .Keut mouvemenl (D-M | M-M); (2) pcLs de menuei en fleuret (D-D-M-M; or D|B [often called 'one and afieuret,' though not by Taubert]), whichhe considers the most commonly used step; (3) pas de menuet a deux mouvements(D-MjM-D); and (4) pas de menuet a. trots mouvements (D-D|M-D).'' In reading

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through his comments on all four steps and their proper rhythmic execution, wegather several criteria that determine Taubert's evaluation of each step:• There must be an equal number of bent and stiff steps (pp. 633, 637).• 'AnyhaHVoM/w'really requires two beats, one for the bend (/>fte) and thcothcr for the rise

{elevi)' (p. 634).''" Tlicrc must be two steps in each measure (p. 635)." Bent and still steps should be segregated: bent steps in one measure and .stifl'steps in

(he other (p. 636).

Taubert's preferred step, the pas de menuei a deux mouvemenli in the rhythmJ J I J J, used predominantly in his five choreographic figures (see figs. 1 and 2),is the only step that satisfies all the criteria listed above: 'I regard this minuet stepas the best and most suitable, by virtue ofits equal separation of stiff and bentsteps, its accurate rhythmic division ofthe steps, and the symmetry ofits cadence,in that in the first measure there are two stiff steps, on the right and left legs, andin the second measure there are two steps with a bend, on the right and leftlegs."^ It is also the only step that allows two beats for the two demicoupes withoutobscuring the 6/4 feeling ofthe dance measure.

We have already seen that Taubert does not fully approve ofthe pas de menuetun f>eul mouvement, which elearly does not meet two of his four criteria and as aresult seems 'to limp like Mephibosheth'. The pas de menuet a tois mouvem£nts,\>n\.\\too many bent steps instead of stifTsteps, and similarly favoring one side becauseof its odd number of bends, is unsatisfactory according to the same criteria(p. 637).

Taubert's term for the pas de menuet enfleurel, his second step, is confusingbecause it subsumes several rhythmic solutions, one of which corresponds to thestep known in many other sources as 'one and afleuret', wliile the other versionsmight be considered variants ofthe minuet step with dewa mouvements. Taubcrt is'not altogether happy' with this step in any form, even if it is the most common,because '... the two [demijcoupes can not be made to fit comfortably within thefirst three beats'.'' If two beats are given to the first demicoupe and one to thesecond, the step 'looks too jumpy' ('kommt ... allzu humplerisch heraus'[p. 634]) because there is both a bend and a rise on the satne beat. If one beatis given to the first demicoupe. and two to the second, the sense of the cadence isweakened 'because rising and holding on the first step for two full beats not onlyensures that the cadence oi'the basic step is clearer, since it falls on the beginningofthe measure, but also the momentary pause in the air at the beginning of everystep imparts a certain grace to the daneer and a special air to the cadence.'^" In theversion othenvise known as 'one and afleurel', with three beats given to the firstdemicoupe and one to the second, 'a proper balance between the total number ofsteps in eaeh measure is not maintained','' and the step 'looks affected in thehighest degree when used too many times in succession'.'"

In none of these rhythmic divisions of his second step does Taubert considergiving two beats to both demicoupes, so that the two 3/4 measures are divided intothree equal parts in the way Pierre Rameau describes (in John Essex's trans-lation): 'But for the better Apprehension, it may be divided into three equal

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Parts; the First for the first half Coupcc, the Second for the Second, and theThird for the two Walks, which ought to take up no longer Time than a halfCoupee."" This description, which first appeared in the M)uveau 7fm'te'of CharlesMasson in 1699., seems to have been taken up only by Rameau and those whotranslated, ibliowed, or copied him." When Taubert gives two beats to the firstdemkoupe, he comes closest to Rameau's description because the rise of thesecond demkoupe accentuates the third beat of the first mea.sure. HoweverTaubcrt plainly states that the second demkoupe is only one beat long.

Rameau's rhythm has been called a hemiola, which is a misleadingmisnomer.'' The term is not u.sed in any dance treatise, and it docs not accuratelyconvey the dancers' experience in dancing Rameau's step. A true hemiola is atemporary metrical change whereby one measure in 3/2 metre is superimposedover two measure.s in 3/4, temporarily suppressing the original metre. Indant ing, howeve-r. the so-callrd hemiola is usually felt again.st an ongoing 3/4metre maintained audibly in the musical accompaniment. Rameau's step,therefore, or Taubert's version closest to it, is probably felt more as ananticipation than a real alteration of the beat.

If Taubert cotnpletely ignored the step described by Rameau, with the so-called hemiola, he would be consistent with the vast majority of teachers,lexicographers, and historians of dance from 1699 through the nineteenthcentury who describe the minuet step. However, there is an intriguing hint ofRameau's step in a remark at the end of his description of the pas de menuel a deuxmouvements:

As the dance continues, there are always twci [(i(:nn\coufje.s in a row from the end ofthr firststep to the begiimitigof'ihc second, as also there arc two stiristcps in a rt>w. For this rca.s()nsome incompetent dance teachers make their students keep both their legs perfectly stifTduring the first measure, and buckled in the .second measure, .so that they fee! llieir waythrough this siep like a hlind lien pecking at peas.*"

The first sentence shows that, from a certain point of view, this step resembles theRameau step, but displaced by one demkoupe: J | J J | J. We know it must be inthe Rarneau, or so-called hemiola, rhythm, because in Taubert's f)as de menuet adeux mouvements, both demkouph take two beats. The second sentence does notnecessarily follow from the first, but it is not a non .wquiiur, either. It shows thatTaubert associates this rhythmic coincidence somehow with bad teaching andbad dancitig. The relationship, expressed in the conjunction 'daher,' is unclear,but Taubert clearly finds it problematic. Whatever it ultimately means, thispassage seems to provide further justification for Taubert's dislike ofthe step hecalls the pax de menuel eiiJJmret in any of its rhythms.

THE CADENCEHa\ing seen how Iaubert extols the virtues of evenness and s^Tnmetry in theminuet step, and decries the ludicrousne.ss and inadmissability of the 'lirst'minuet step and the 'monstrous' new minuet step on this very point, we come to

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his discus.sion ofthe minuet cadence and find that it, too, is problematic on thesame point. There can be no doubt that Taubert means what he says here, forin his typical, exhaustively thorough manner of presenting important ideas, hesays the same thing four times, in slightly different ways, in the following twoconjoined passages:

The regular minuet step consists offour individual steps i[) two three-four mea.sures, lhatis, in one dance measure or two measures of music, and in this case (one mighl say] thereis no correct cadence and way to divide the .sieps according to the metre such that thefour component ordinary steps alway.s end preei.scly together with the two three-fourmeasures: such is the supposition of many dance teachers, which only reveals that theyclearly have no understanding of liow symmetry and time are ftindamentally related locadence, and therefore cannot demonstrate the theory to a student. No! rather you mustalways give two beats to the first step on the downbeat, only one beat lo the second stepon the upbeat, two beats again to the third step, and only one beat to the fourth step,which otherwise represents and i.s known as an accurate cadence and division of stepsaccording to the metre (pp. 527-8). |...]

Yet a symmetrical cadence and correct division ol steps according Lo the beai will notresult merely from precisely ending each step at the same time that a two-mcasurc groupends, as many dancers \'ainly think; no, ever\- step must have its own partieular rhythmicdivision witliin two 3/4 measures, such that in llie first measure there are always twobeats on the first step and only one on the second, and in the second measure again twoheats on the third .step and only one on the fourth.

Thus one always gives twice as much time to the first and third steps, which are bothon the right foot, as to the second and fourth steps, which are on the left: the first pair ofsteps, right then left, comprises the lirst 3/4 measure, and the second pair, right llien left,begin and end in the second 3/4 measure, both of which measures of musie togetherproduce a two-measure cculence\'P.T\ easy on the ears. For, even though one minuet melodymighl fit the steps more elearly than an(.)lher, ne\'erllieless one hears each pair of twomeasures as a self-contained unit [T: intercision und AbschniH\^ jusi like a rhymed couplet[T: GeseL^lein], and with the next pair ol 3/4 measures a new couplet begins. For thisreason they stay together as pairs and must never be broken.

And this is the very advantage, proved by daily experience, thanks to which you canteach the cadence as easily to a beginner - even a child as to the finest musician. Namely:accustom yourself to hegin the four .steps in a minuet step only right at the hegiiining [ofeach cadence], and every time you take the first step, which is always will) ihc right leg,count: 'One.' The second time, which is always with the left leg: 'Two.' The third lime:'Three." And the fourth time: 'Four.' Persistently inake the child irmcmber in ihis waythat the right leg, on the first and third steps, receives exactly twice as much time as theleft leg on the second and fourth steps; when he is ready to dance with the music, firsteount off the 'one, two, three, four' of tJie .symmetrical cadence, taking him by the hand,and accentuating the cadence hy playing on the violin or singing certain parts of the tunemore loudly and clearly, even though this takes more time than the other methods (pp.630-1).

It is obvious that Taubert is describing a counting technique for leachingstudents how to feel the tninuet cadence kinaesthetically. One can see its usefulnessin emphasising the metrical structure ofthe minuet cadence, consisting of two 3/4measures, or one 6/4 measure, and the association of the right foot with thebeginning of the cadence. However, it is also obvious that this step sequence is

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uneven and asymmetrical, and in practice would look almost identical (minusthe tnouvemenls) to the limping, 'monstrous' new step. It also resembles the step-patterns (again, minus the mouvements) ofthe minuet steps with one and threemovements, and shares their same problems of uimevenness and lopsidcdrics.s a.sdescribed above. Moreover, it fails to distitiguish between the true beginning ofthe cadence (which he sometimes calls the entre-cadence) and its second half (or contre-cadence), despite his vivid characterisation of their relationship as a 'rhymedcouplet.'

Much later in the eighteenth century, Bacquoy-Guedon grappled with thesame problem of teaching how to count the minuet cadencevAvXc maintaining thedistinction between the cadence and conlre-cadmce. The solutions he came up withare more logical than Taubert's. Instead of having the student get up and movearound the room in rhythm, as if dancing, he propo.sed a series of hand and footexercises in place. For example, the first trieasure ('la bonne mesure') is markedby the hands striking the knees whilf raising the heels; the second measure ('lafausse mesure') is marked by letting the hands hang at the sides and lowering theheels. Bacquoy-CJucdon also specifies that the striking of hands against knees andheels against the floor should last two beats and be released on the diird.^'

THE SIGNAL TO GIVE HANDS AND HOLDING HANDSTaubert provides extremely nuanced instructions - more so, probably, than inany other treatise — on how the giving of hands is to be signalled. At this point inthe dance, there are two opposing principles at play: 'the principle of civility';and 'ihe rule based on clothing' - i.e. the hat."' On the one liatid, it must neverlook as if the cavalier is imposing his will upon the lady; that is, while the danceshotild not go (jn too long, the length ofthe dance (determined by allowing moreor fewer Haupt-Figuren or principal figures) must be 'an expression of [the lady's]free will'."^ On the other hand, taking off the hat 'gives the lady an unmistakablesignal, which olhenvise she does not usually see, to prepare in time for the givingof hands, so that the outcome is not a constant confused flapping ofthe arms likebatwings'/'' Taubert adds that in Germany, taking off the hat is the generallyrecognised signal for the giving of hands, and German ladies 'would considerthemselves insulted and demeaned' without it,"'

Taubert does not explain how the man is expected to remove his hat atexactly the moment the woman wants him to, absent any other sign. But he doesemphasise here the importance of keeping ones partner constantly in \iew,implying that if all goes correctly, the impulse to give hands will come mutuallyand spontaneously. Like many later writers on the minuet, he also mentions thepas grave to signal intent; Taubert .says the lady can take two pas graves (by whichhe means a double tems de courante) at the top ofthe figure (p. 651; shown innotation in figs. 3, 4 and 5, pp. 659-61).^" Nor does he omit the most commonsignal, raising the right hand, but this clearly begins only after the hat gesture hasIjegun. Taubert's emphasis on the hat as the initial signal, and his explanation ofthe psychological subtext ofthis moment in the dance, which is even more subtle

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than indicated here, are unique in the minuet literature.Dance historians and historical dancers always chuckle at film costume

dramas in which the men and women take hands incorrectly while processingor dancing. Taubert's comments on this subject suggest lhat a nondoctrinaireposition is advisable on the question of whose hand sliould be above or below:

I cannot say whether such courtliness, grace, and deference is shown toward the lady inleading her forth with ones right hand beneath her left hand as some insist; one should,however, make a distinction hctweeii leading while dancing and leading; al a pi)litrgadiering. When not dancing, in eoiiductiiig a lady from one place to another, ii is niticlimore considerate to hold her with your right hand beneath her left hand or arm, in orderto support her with a .subtle and gentle efforl and guard her from faltini or tripping; hutin dancing, and especially here in the minuet, the cavalier may hold die lady's hand eitherfrom above or below.

Yet it is more commonly held below hers; but it is more conilbrtable abo\e, not onlyin the minuet, because in this way one can extend his arm and thus conveniently directthe lady's movemciils just as wdl as when it is below, bul also in ihc cotirante, where thelady's hand must rest on her hip. and her arm mtist accordingly be ahlc lo bend withoutthe least inconvenience or .strain, whii;b is utterly impossible if ihe cavalier's hand isresting underneath (pp. 64-4—5).

THE LENGTH OF THE DANCETaubert gives five choreographic figures for the minuet. Fig. 2 is the Haupt-Figuror principal figure. The other figures are called the J^eben-Figuren or collateralfigures. The titles ofthe figures, and the number of minuet steps in each one, are:

p. [657] Fig. I. The introduetion to the minuet. (5 steps) (sec fig. 1)p. |658] Fig. 2. The principal figure of tht- minuet. (6 steps) (see fig. 2)p. [659] Fig. 3. The giving of right hancls in (he niinutn. (6 steps)p. [660] Fig. 4. l'hc giving of left hands in the minuet. (6 steps)p. [661] Fig. 5. The giving of both hands in the minuet. (7 steps)

The total number of steps is 30. Taubert does not provide his own tune for thedance, but the tune that would fit his choreography would be either 60 measureslong in 3/4 metre, or 30 measures long in 6/4 metre."' To accept this figurewithout qualification, however, would be a gross over-simplification.

It would be impossible, first of all, to find a tune whose phrasing fitsTaubert's figures. The total number of measures in the dance is di\isible by 6,but even a tune composed only of 6-measure phrases would not fit the danceperfectly because the first figure is one step too short and the fifth figure is onestep too long, so that during most ofthe dance the music would be two measuresbehind the steps. Most minuet tunes are binary, consisting of two repeatedphrases, and the entire binary form with internal repetitions is played enoughtimes to accompany the complete dance. No such structure would fit Taubert'sfive figures.

Second, we must bear in mind that the menuel ordinaire was, in very largepart, an imjjrovisatory dance. One improvised element in the minuet was thenumber of principal figures [Haupt-Figuren, usually Z-figures) danced at two

THE MINUET ACCORDING TO TAUBERT 147

B.ejf.

Fig. 1. The introduction to the minuet (photograph Tilden Russell).

points: first between the introduction and giving of right hajids [that is, betweenTaubert's figs. 1 and 3); and second between the giving of left hands and thegiving of bolh hands (that is, between his figs. 4 and 5). Usually treatises give twosets of numbers as lower and upper limits for these two series of Z-figures. If thelimits are unequal, more repetitions are usually allowed in the first series than thesecond, the general guideline being that the dance should not be allowed to goon too long through an excess of Z-figiu"es, and it is better to have more Z's atthe beginning ofthe dance than near the end. If Taubert's figures were followedliterally, there would be no seeond series of Haupt-Figuren. Indeed, according toTaubert, this is one way to dancr the minuet, which he refers to as 'the moremodern style' (Metzigem Gebrauih nach' \p. 653]), but it is only one out ofseveral possible ways. The first time the Haupt-Figur is danced, Taubert says, itmay be done from two to fotu- times; tlie second time it may be done once, twice,or not at all (pp. 646, 649, 653, 655).

The idea of skipping the second series of Z-figures altogether is extremelyunusual, but not unique. Most likely Taubert was infiuenced to mention thispossibility by his predecessor Ix)uis Bonin, whom he frequendy cites. Boninand Taubert are, in fact, the only two dancing masters to mention it. Boninrecommends it because a gentleman who insists upon the second series ofZ-figures gives the impression of feeling cheated by the length ofthe dance thusfar, despairs that this is his last chance to show oif all his skill, and presumes

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Fig. 2. The principal figure ofthe minuet (photograph Tilden Russell).

excessive familiarity with the lady."' Skipping the second series of Z-figures avoidsthese potential offenses against the lady and also has the virtue of brevity.

Taubert also suggests a number of ways in which the internal lengths oftheindividual figures can be altered, subject, again, to the improvisatory nature ofthe menuel ordinaire. His discussion ofthe first collateral figure (fig. 1) typifies hisfiexible approach in this area:

Some lead their paitiiei- up ihr room and to the Icit immediately alter the two reverencesarc completed exactly as deseribed above in Chapter XV! Others, ou the eontraiy, firststand still Ibr the duration of one minuet step, that is, two 3/4 measures; yet if the bowis not synchronised with the cadence, others wait only one measure, which is a goodexpedient. Some first make a backward step, as is done now after the second how; others,again, make a side step, the eavalier down to the right and the lady down to the left, tothe spot where they hegan their bows. And still others first step backwards in a quitecasual manner to the same plaee, then lead the lady to the middle of (he dance space andlet her begin the principal fi^re on her own.

All of these possibilities are done in diifcrcnt ways: . onie lead their ladies using onlyforward steps; others using only side steps, u illi the right fnoi either going always behind,or alternatingly, first before and then behind; and still others with side, forward., andbackward steps one after the other. Again, some release their lady's hand as soon as theyarrive at the middle ofthe dance space; while others keep holding it uniil they dance twoor three foi-vvard, side, or backward steps in a circle to the right or left, all of which waysare equally good (pp. 642-3).

THE MINUET ACCORDING TO TAUBERT 149

In the first paragraph, the suggestion to wait one or two measures is a possiblesolutioTi to the problem of (oordinating this 5-step figure to a more conventionaltype of musical phrasing. In the second paragraph, Taubert .suggests 'two orthree foi-ward, side, or backward steps in a circle to the right or left' instead ofthe three forward steps in a circle to the left shown in Fig. I. In other words,in the same passage he suggests ways to either lengthen or shorten the dancephra.se."

In his section on minuet step variations. Taubert ofiers many moreexamples of improvisatorial flexibility that would conceivably alter the lengthofthe dance phrase. With regard to the opening ofthe dance as represented inFig. 1, Taubert suggests releasing the lady's hand after only one forward minuc!step, then making two or three simple Jleureb circling sideways to the right,followed by one or two backward^rar^iy in a straight hne (p. 730). Notice howthroughout Table I, in which the variations are classified according to the figurein which they may be used, there are .several more such alternatives as to thenumber of steps that may be substituted at certain points. Other than thecomment quoted above on synchronising the steps with the cadence, Taubcrtoffers no additional specific criteria on the t>pe or number of \'ariations. Every-thing depends, presumably, on the dancers' taste and sound improvisationalinstincts. In truth, every daticiiig master's version ofthe menuet ordinaire should beconstrued this creatively. But Taubert's is the only one that so Ia\'ishly spreadsbefore us the cornucopia of possibilities that existed in this dance.

THE 2-FIGUREAt first glance Taubert's Haupt-figur or principal figure ofthe minuet (p. [658])appears to be a normal Z-figure (fig. 2). Closer examination, though, reveals thateach path has only one ofthe two acute angles of a Z, ai the end of its diagonal,while at the beginning of the diagonal a more gradual turn is indicated. Eventhough the beginning of each dance path is flattened to resemble a Z, a degreeof curvature is shown clearly in the dancers' steps.'' The figure, in fact, is a pairof interlocking 2-figures. According to Taubert., the first minuet figure was afigure-8. This was improved into a half figure-8 or backward S-figure. The2-figure developed as an improvement on the backward S-figute. but it is not amere transitional stage on the way to the Z-figiuc. Rathet; he rcc<tgnises ail threefigures as being in current use, but finds the 2-figure most prevalent andpreferable (pp. 6:^8-1^1)."

Unlike the S- or Z-figures, the 2-figure is not parallel at all points ibr the twodancers, as its top part is not identical to its bottom part. In fig. 2 the curved topof one dancer's figure lies alongside the horizontal bottom ofthe other's. Thismeans that a reference to the top ofthe figure is not necessarily synonymous withthe top ofthe room, and it is possible to lead the lady up the room to the secondhalf or bottom of her figure, or down the room to the first half or top of her figure(p. 643). Taubert's fig. 2 is actually a simplification, in that the tops of the2-figurcs are more flattened than they should be, and the curves should continue

150 TILDEN RUSSELL

to bulge out along the diagonal until they meet the horizontal bottom lines. Weknow tliis because of what Iaubert says are the advantages ofthc 2-figure overthe other two types, whieh have to do with the way the dancers are allowed topass each other along the diagonal: they face each other directly instead ofpassing each other sideways, as they must do in the S-figure; while the widercurve ofthe 2-figure allows them to pass withcjut crowding each other, as wouldhappen in the Z-figure - the wider space being necessitated by the v«der skirtswomen were wearing.

The key to the 2-figure, then, is the curve at the top, and Taubert has aspecial name for where it begins: the Einkehren (first mentioned on p. 678). Whilehe never actually defines the word Einkehren, its meaning can be deduced fromthe way he locates it either at the corner [Ecke] or top [oberi) ofthe 2-figure, andfrom the types of steps he substitutes there.^' There is some ambiguity in the wayhe distinguishes it, or fails to distinguish it, from the end of a figure (i.e. the stepsto the right along the horizontal at the bottom ofthe 2-figure), probably becausethe end of one figure leads into the beginning of another; this terminologicalambiguity is reflected in Table 1. Nonetheless, the Einkehren is a focus of orna-mentation, either in the steps immediately preceding., or immediately followingit. Taubert says the Einkehren is the besl place for introducing variations, for tworeasons: 'Not only is there sufficient space for turning (if you have allowedenough time), but also the lady is in plain sight and can be observed at the preci.semoment she tnakes her turn [T: wenn sie einkehrei\, so tbat you may synchroniseyour dancing with hers instead of confusing her with excessively prolongedvariation."' Variations at the Einkehren and at the end ofthe figure immediatelypreceding it far outnumber those at any other part ofthe figure or the dance asa whole, and provide an ornamented articulation ofthe beginning ofthe figure.

VARIATIONS

Alter the choreography of the menuet ordinaire, Taubert presents eight chapters(Chaps. XXXV-XLII) on minuet variations. He quotes and loosely translatesthis definition of'variation' from an unnamed author:' Variatio est ab ordinariajigurael praescriptis passibus digressio, in one author's words, which mean: a minuet isvaried when a dancer deliberately deviates from the regular figure and basicminuet step, and, to please himself and his onlookers, introduces some figuredand more technically demanding steps [T: Lectione.'i].'"' This definition shouldbe compared to Taubert's earlier definition of a figured minuet {menuet figure):'Figured minuets are those in which the ordinary compound steps ofthe minuetare mingled with balances, contretemps, fieurels and other graceful steps; and theyconsist of symmetrical figures and patterns that do not come from the menuetordinaire.'^' The two definitions basically say the same thing, from which we canconclude that Taubert's section on variations is really a guide to creating afigured minuet out of a menuet ordinaire. In saying this, however, we must point outthat this idea of a figured minuet diflers significantly from the norm.

Menuetsfibres were normally published in recueils, not dance manuals, and

THE MINUET ACCORDING TO TAUBERT 151

indi\'idually choreographed to specific tunes. Taubert recognises this type, andlists the titles of some ofthe best-known ones of his time: 'Examples of suehminuets are the Menuet d'Anjou, Menuet de VAmour, Menuet de Dauphin, Menuet deBerlin, Menuet d'la Princesse de Hannover, Menuet Alcide, Menuet d'Kspa^, Menuet enquatre, en. huit, and whatever other names they may go by"" But Taubert is notalways consistent, and the mmuetjigure \.hA\. he oudines in his chapters on minuetvariations is improvised and presumably can be danced to any minuet tune. Hedoes not discuss ways in which the figures can be varied. Instead he devotes thisentire section to a systematic description of all the steps that can be stibstitutedfor the basic minuet step during the normal performanee of the dance. Theyinclude various kinds of balance, coupe, pas grave, pas de bourree, fteuret, saute, jette,contretemps, cfiasse, pas de sissonne, pirouette^ tourne, capriole, and entrechat; in principle(if not literally) they include all the steps in the Choregraphie: 'In short: in theminuet may be incorporated and tised all the steps of French dance, those, thatis, used in high theatrical as well as low chamber dance, and these add up tono small number of steps, as we will show in the French Choregraphie in ChapterXLV""' This is in marked contrast to other dance treatises, which mention atmost one or two steps {contretemps de menuet, balance., pas grave) that can he sub-stituted in a menuet ordinaire. Taubert concludes this section with the 'KurtzerEntwurff', a second verbal description of a minuet, this time showing where inthe course of the dance particular steps can be substituted to best effect (pp.730-2).

As Taubert makes abundantly clear, the only dance really worth learning todance is thr minuet, and the only reason to learn additional steps is to be able todance the minuet more artistically:

Thus I do not err in advising any student wishing to learn to dance a few daiices well,that he should not waste his time practicing to be able to dance a gigue or sarabandeon command, hut instead thai lie .should have a larp- ready siipjily of variations, that is,figured composite .steps and mo\cs, and should learn how to use ihem in a minuet,beeause nowadays the minuet is practically the only dance danced in company; in thisway he will not always be bringing the same goods to market, but will be able tu selectthe step or leap that will best ser\T to save him from making a mistake (p. 666; also pp.1173-4).'"

No other treati.se gives so many suh.stitute steps or treats the menuet ordinaire asa dynamic, infinitely variable dance that can be transformed, in ellect, into animprovised menuet j^ri - one, moreover, that encompasses practically the entiredance step repertoire, including steps that were associated more with theatricalthan chamber dance, thus blurring the distinction between the two genres.Ordinarily, the Choregraphie, which follows here in translation in Chapter XLV,would be seen as the key or gateway to learning all dances, including the minuet.Here, on the contrary, Taubert almost makes it seem as if the minuet is the wholeraison d'etre and key to the Choregraphie.

Table 1 lists the step-variations for which Taubert suggests a specific contextin the course ofthe dance. These suggestions are found scattered throughout thetext ofthe preceding eight chapters and more concentratcdly in the culminaiing

152 TILDEN RUSSELL

'Kurt7xr Entwurff'. Notice that the steps suggested for the beginning, Inllowingthe introduction, arc almost identical with those following the giving of left handsand preparatory to the conclusion ofthe dance. The rest ofthe suggestions focuson the 2-figure, especially at the beginning or Einkehren, but also at its middleand end. If Taubert's suggestions were faithfully followed, variations would beobserved frequently and regularly during a single dance.

Most ofthe variations are intended solely for the man. Throughout BookII, Taubert writes all his instructional chapters from ihe cavalier's point of \'iew,relegating the lady's role to a paragraph at the end. Only two chapters in thesection on minuet variations, on the balanceand contretemps, refer to the lady's role;it is safe to assume, then, that Taubert does not intend women to dance any ofthe other variations. His reasons are based on practicality and modesty:A modest woman has nothing to do with batlemenLs and other ornaments using the feet.since no one can see them on account of her long skirt; she stays with the ordinary balanceand executes it strictly as described above. The hcnd is done in exactly the .same way asin the woman's bow, that is, will) knees bcni and turiu-c] out, l!ic lower part ofthc hody,shoulders, and head held hack and the Ijivasl thrust out. In rLsing or straighlcnin.tr, mrnyour head somewhat aside, diat is, first to the left and then to right, which considerablyenhances a lady's grace; but you should not overdo it. Some who turn this way seekingto charm end up heing looked upon as cheap and debased through their alTcctationand sclf-dishgurenu'tit with twisted neck, bobbing head, and conlorlcd Ixidy (pp.679-80}. [...J

In the contretemps the lady mu.st observe the same procedures that we have alreadyclearly described for the gentleman's simple forward contretemps, except that she may notspring (or only with great restraint) or make hatlemenls with her feet. For the minuet isdanced nowadays by aU the mosigalant dancers in such a gentle way that scarcely a singlespring can be detected; from which one can \'ery easily infer how very severely would alady be sinning against gcntilily, who springs so vigorously in her contretemps at tlic givingof hands that her headdress is set aquivcr, as sometimes liappcns (p. 704).

Given the great variety and virtuosity of the ornaments, and the many pointsduring the dance at which they may be deployed, it is easy to envision Taubert'smenuet figure as an extravagant showpiece for the man, with the woman in therole of his self-effacing foil." 'In short,' Taubert says, 'if eavorting and hoppingabout like a rabbit are to your taste, you can fill up an entire minuet with thesevariations, using scarcely a single basic step ... " ' Such a performanee is a far cryfrom the symmetrically seductive courtship ritual enacted in the menuet ordinaire,as described in 1781 by an unidentifed composer who signed his work 'Musico-Oratorico-Politico": 'Two Lovers ... salute, they amourou.sly regard each other,they give their Hands, they separate, they reproach, they renew their Love bypresenting their open Arms, they at last give their Hands, and again salute inToken of Reconciliation.'^'

Taubert, of course, would have rejected any notion ofthe minuet as a vehicle forvanity and pride. The art of dance - prosaic and poetic -was a God-given meansof physical and moral improvennent for postlapsarian humanity to reclaim ourperfection before the Fall, or at least lo advance in that direction. This

THE MINUET ACCORDING TO TAUBERT 153

perfectibility was to be realised through the teaching of Sitten-Lehre, which ean beeonciscly translated as etiquette but which literally means the outwardor physieal expression of an upright character, and it is this full meaning thatTaubert has in mind every time he uses the word. Dance is a branch - Taubertwould say the most vital branch - of Sitten-Lehre. Therefore, a person who daneeswell is virtuous, righteous, and comely, and the act of dancing well is a way ofpraising God:

... God the all-highest is not praised only [hy sayingl the word.s 'Holy, holy, holy!' [or h\\sitting or standing in one place; hut really also through all well contrived works, not onlythose directed at or received by the cars, but also acti\'ely and passiv cly engaging ali fivesenses. For Gi>d created all five senses [to render] praise and honor. And included nowamong these works is the conduct of walking and standing, re.speclful gestures and bows,and also expressions of joy, [all of which are] well regulated by the true art of dancing,which is by no means a .simple outlet for animal plea.sure, hut a correct way of controllingit, so that natural gestures can and will be regulaied in a truly virile, rational, and (iotl-pleasing way

ITius a g(K)dly .sort of man, when he dances or observes dancing, can honor andpraise all-highest God in his heart, and thank Him for one or the other of these, HLsblessings (pp. 348 9).

Does this ask too much ofthe minuet? Taubert would not think so. The minuetis, after all, at the very heart of his project for the regeneration of fallen man.When, several deeades after the publication ofthe Rechtschqffener Tantzmeister, thedancing master Marcel [d. I 759) famously said: 'Que de choses dans un menuet!'he could have had no inkling of (iottfried Taubert and his grand conception ofthe minuet in the cosmic scheme of things. Yet truer words were never spoken.

NOTES1. Cioltfrii'd Taubert. RechtrkaJfeneT Tariizmei\ter (I^ipzig: Fricdrirh I-anckischens Erbcn.

1717; facs. ed. Ix-ipzig: Zeiitralantiquariat der DDR, and Munich: Hcinieran Verlag,2 vols., 1976). All iniiislalions arc mine, and arc taken from a transIaUon of all of BooksII and III that I am completing.

2. Kurt Peiermann, 'Naehworl', Taubcrt, Rechtschqffener Tantzmeisler, p. XXV: 'Er dUrfteder erste Systcmalikcr dcs Tanzes gewescn srin, der mit Sorgfalt da.s groBe CJebict derTanzkunsl nach rationalcn Ubcdegungen geglicdert hat.'

'?>. Quotes from: Marian Hannali Winter, The Pie-Romantic Balkt (IJMKIOII: PitmanPublishing, 1974). p. 46; and Wendy Hilton, A dance for kings: The 1 7th-( eniur>' FrenchCourante.,' Early Aftmc V/2 (1977), p. 162. On Taubcn reception, see Stephanie Sehroedter,limi 'Affect' zur 'Ar/io/i': Quettensludim zur Poelik der Idnzkutist rom spalen Ballel de (.'our his .;«m

Jru/ien Ballet en Action (Wurzbiirg: Kbnigshauscn & Neumann, 2004). p. 7H.4. Aiigelika (Jerbes,'(ioufried 1 aubert on social and theatrical danee of the early eighteenth

century' (Ph.D. dis.s.. The Ohio State University, 1972); much of her remaining text isparaphrased from other passages, but without citing specific page sources. See alsoGerbes, trans., 'Gottfried laubert (c. 1673-17?), The Minuet.' in Dance as a Theatre Art:Source Readings in Dance History Jrom J581 to tfie Present, ed. Selnia Jcaiuie C'olien (N< w York:Harper & Row. 1974), pp. 42-31. The only oihrr iranslalion. also partial, Ls inio Danishand dates from the mid-eighteenth century: Taubert, hhrt udtog a/dm iftn komten iridirttidcdantse-exerdtii nytte, trans. Heiirich Hieron>Tni (Copt-iihaRcn: Tryki hos Niels HiuiscuMollcr, [1742]).

5. Tilden Russell, "On Translating Taubert: A Freliniinar>- Report," Society oJ Dance History

154 TILDEN RUSSELL

Scholars Proceeding.^: Ticenty-Sixth Annual Confneme (Limerick. 2003), pp. 106-11. Also:Jennifer Thorp,''In defence of danced minuets; Early Music XXW/\ (200:i), pp. 100-8.draws attention to Taubert's importance for mintiet .studies; Sehroedier, Vom AJfect' zur"Action', is a magisterial study that discu.sscs Taubc-rt al length in the eontext of'his Germandaneing-master contemporaries who alsn wrote treatises. Clurrently a study group in Paristitled "\A technique de ta danse frant aise a la lumierr dcs traitc's allemands (1700 1720),'funded by the Ministerc dc la culture et de la eommunication and direeted by Jean-NoelLaurenti, is translatintr se\eral portions of Taubert into Fremh and attempting toreconstruet and record on DVD his versions ofthe eourante and minuet.

6. Raoul Auger Feuillct, Choregraphie ou Vart de decriiv la datwe (Paris: author, 1701; facs. ed.Bologna: Forni Editore, 1970); "Traite de la eadanee,' in Reciieit de dances contmant un tresgrand nomhres [sic], des mdllieures entrees de ballet de Mr. Pecom {VAU^: author, 1704).

7. Raoul Auger Feuillct, Choregraphie ou Vart de decrire la dance, and Recueil de dances (Paris, 1700;facs. ed. New York: Broude Brothers, 1968); for justification of considering these twoworks as one, sec Feuillet's 'Preface' in both the 1700 and 1701 editions; also McrcdiihEllis Little and C iarol Marsh, IM Danse Moble: An Inventory of Dances and Sources (New \brk:Broude Brothers, 1992), p. 91. Other treatises that follow this format include: JohnWeaver, Orchesography. Or., the Art of Dancing (London: H. Meere, 1706; facs. ed. Westmead:Gregg International, 1971); Jolin Essex, For the Furthur [sic] Improvement of Dancing, A Treatiseof Chorography or ye Art of Dancing Country Dances after A .\'ew Character (London: 1. Walsh andP RandaU, 1710); Pierre Rameau, Abbregede laJs'ouvelle Metlwde, dans lArt d'Ecrire ou de TracerToutes Sortes de Danses de Vdle (Paris: author, Sr. Boivin, and Sr. LeClere [t 725]; faes. ed.Westmead: Gregg International, 1972); Claude-Mai^c Magny, Principes de Choregraphie(Paris: Duehcsne and de la Chevardiere, 1765; facs. cd. Geneva: Minkofi, 1980);[N.] Malpicd, Traite siir lArt de la Danse, Seconde F^dition, Augmentce (Paris: Chez MBouin, [ea. 1790]; faes. cd. Westmead: Gregg International, 1972). Taiihert. on the otherhand, may be considered an immense expansion ofthc organisation of Ij)uis Bonin, DieMeueste. Art zur (ialant^n und Theatmlischen Tantz-fihnst (Frankfurt and Leipzig: J(jh. GhristollLochner, 1712; repr. ed. Berlin: Edition Hentrieh, 1996).

8. Taubert does not introduce the five positions until his Fcuillet edition, pp. 747 (figs. 14-18)and 803-4 (text). G. Sul, Metttode tresfacite. eifort necessaire, pour montrer a lajeumsse de run &t'autre sexe la maniere de bien dancer (La Haye: I'Auteur, I 725), follows Taubert's approachinsofar as he waits to introduce the five positions until after discussion of tho minuet.

9. Ihree choreographies of theatrical dances are added a! the (nd of Bcxjk II, but oniy asexamples of Feuillet notation.

10. On Taubert and the courantt, sec Russell. 'On Translating 'Iaubert: A I'reliniinaryReport, 'pp. 108-10.

11. See Appendix I (or the original texts of extended quotations.12. D = demicoupe; M = pas marche\ B - pas de bourree; \ = barline. For a concise summary of

the various minuet steps and what about a dozen dancing masters, including Taubcrt, hadto say about them, see Judith Cobau, 'The Preferred Pas de Menuet,' Dance ResearchJournal 16/2 (Fall 1984), pp. 13-17,

13. '... von rcchtswcgcn zu ciner jcdem halben Coupe, als welche aus einem Bispii^und etevebestehet, zwey Viertel, als cins zum Niederbiegen, und das anderc zuni Strecken erfodertwird' (p. 634),

14. 'Ieh halte, we gesagct. dicsen -\/fWH ;-Sehritt, so wol wegen der gleichen Abthciliing drrcrsteiiien und gcbogcnen Pas simples, als auch wcgen Her accuratvn Eintbcilung dt-rselbennaeh dem Tact und der .vjimwf/nschcn Cadence unter alien IV' Sorten Ilir das beste undbequemste; Sintemal dabey iiliemal beym ersten Drey-\''icrtheil-7flc/ zwcy stcifTe Schritte,als mit dem rechten und lincken, und beym andcrn Drey-Viertheil-7ar/ zwcy gebogene,mit dem rechten und lincken, vorkommen' (}i. 636).

15. Allein! es will mir dit'ser Ptis glcichfalls nit:hi allerdings wolgefallen; bevoraus, weil sichdie bcyden Coupes nicht gar fuglich in den crstcn Drcy-Vicrtheil-Noten ab.soh'iTi.'^x^ lassen'(p. 634). 'Fhis sentence gives the impression thai Taubert is counting the step beginningon the downbeat with a rise and change of weight, and indeed, this is the way hf explainshow to count steps. When he explains how to dance steps in the correct rhytlim, liowever.

THE MINUET ACCORDING TO TAUBERT 155

he begins the step in the conventional way, on the upbeat with a bend. Here, even if hiscounting seems anomalous, his gencnii meaning is clear: he does noi like two demicoupes inone !i/4 measure.

16. 'Sintemal die.scs, wenn man aul dem ersten Sehriti zwey Viertei-Noten hclict und halt,nicht allein die Cadence unter denen Haupt-Z flj viel deutlicher machet, weil nemlich derTact zwey Viertel im Niedersehlagen hat; sondern es wachset auch dilifalls dem Tantzereine nicht geringe Grace zu, wenn er sieh nemlich iederzeit beym Anfange des Wau^i-Paseine Wt'ile in der Hohe halten, und mit der Cadence eine besondere .4z>gel)en kann ...'(pp. 634 5).

17. Allermassen zwar dadtirch tlic Eintheilung des lact.\ auf die Coupes, abcr niclil auf diesamtlichen Pa.s .simples gebuhrender niasscn ihre Richtigkeii erhall' (p. 635).

18. '... wenn er allzu oflt nach einander gemacht wird, im ho(hsten (Irad aJfectin-\ liissei'(|). 61 5). On p. 618,Tauberl includes all mintiet steps consisting of two ( e/HfVou/Jo followedby two pas marches under the term pas de menuet enfieuret. On [). 635, however, he singles outthis third rhythmic variation as the true fieuret step, probably because the entire fm debourree is eontained within one 3/4 measure.

19. [P. Rameau], The Dancing-Master: or. The Art (^'Dancing Explained, transl. J. F ssex (bindon:author, I 72!;i), p. 44; after Pierre Rameau, I^ Maitre ii Danser [Paris: Chez Jean Villelte,1725; faes. ed. New York: Broude Brothers, 1967), p. 78: 'Pour le l)icn comprcndre on lepeut diviser en trois parties egales: la premiere est pour le premier (1< mi-coupe, laseeoiidepour le deuxieme, & les deux autrcs pa-s marche [sic\ pour la tn)isieiiu ."

20. Charlc's Masson, .\ouveau Traite des regtes pour ta composition de ta musique, 2nd ctln. (Paris,1699), p. 8. Rameau identifies himself a-s daneing master to the Spani.sh myal court onthe title pages of both his publications, so it is logical to find his description of thisstep repeated m Iberian sources. The hemiola is subsequently indicated in: the Essextran.slation, p. 44; D. Bartliolome I'errlol y Boxeraus, Reglas utitespara los aficionados a danzar(Naples: Joseph Testore, 1745), pp. 79, 85; Anon.. Arte de Dan^ar a Eranceza., iransl. JosephThomas C^abieira (Eisbon: Na Oflicina Patrian al dc Francisco Euiz Amcno, 1 760; lacs.ed. Jose Sasportes, Historia da Dan(a em Portugal [Lisbon: Funda(,-ao C^alouste (Julbeukian,197()[), p. 11; |(.:.] (lompan, Dictionuaire de Danse (Paris: C:hez Cailleau, 1787; facs. ed.Geneva: MinkofT. 1979]), pp. 232-3. I[ should be pointed out, however, that Rameaudoes not indicate tbe so-called hemiola in his Abbrege de la .Miuvelle Methode, pp. 104, 108-9.

21. Wendy Hilton, Dance of Court & Theater: The Ererich Noble Style / 690-1725 {Umdon: DanceBooks Ltd., 1981) pp. 239-H.

22. 'Und folgen also im Forttantzen. wenu nemlich die letztf Coupevon dem ersten Haupt-/'(j.vmit der ersten Coupe von dem folgenden P(i\ (omiectivcl wird, iederzeit /wcy Coupes, undauch zwey steifTe Pas aufl'einander. Daher auch einige Tantz-Sttimpler bey der Informationim ersten Drcy-Vicrlheils-'Iaete mit den rechten tmd lint ken bloss steiH fortschreiten, undhernach im anderii Drey-Viertheil-Tacte auch auf dem rechten und liiickt n knit kmlassen, und Ireifeii also diesen Pas, so zu reden, bliiidlings, wie eine blintie Hcnne dieErbsen, findet' (p. 637).

23. [A.] Bacquoy-Ciuedon, Methode pour exeicer I'oreitte a la mesure., daiu t'art de ta danse(Amsterdam: chez Valade, ca. 1784; facs. ed. Geneva: Minkoff, 1972), pp. 14-19, esp. pp.15-16 (no. 3 and fn. 9).

24. '... als welche Raison ^\c\\ auf die CiM'/i/e grtindet, ... wider die Kleider-Ordnung'(p. 646).25. 'Man mUssc der Damen ... den freyen Willen tiberlassen" {p. 646).26. 'Weil dieses ein Marque ist, wornach sich die Dame unbetruglieh richten und bey Zeiten

zum Hiindcgeben praepariixn kan, wt)von sie sonst olUers nichts siehet; Allermassen ihrcrviele mit den Armeu unablalilith, wie die Fledermause mit den Fliigeln, herumfladern,und dadurch die Losung verdunckein' (pp. 647-8).

27. 'Weil unsere DawiCT; in Teutschland ... es daher gar leichte fur eine .4/ifen/und Verachtungaufnehmen' (p. 648).

28. See also Giambattista Dufort, Trattato del Bath .Nohile (Naples: Feliee Mosca, 1728: facs.ed. Westmead: Gregg International Publishers, 1972), pp. 146-7; Magny. Principes deChoregraphie, p. 242; Gennaro Magri, Trattato teorico-pratti4:o di Ballo (Naples: N'iiicenzoOrsino, 1779; repr. ed. Tlieoretkal and practical treatise on dancii^, transl. Mary Skeaping with

156 TILDEN RUSSELL

Anna Ivanova and Irmgard E. Berry, ed. Irnigard F,. Berry and Annalisa Fox [T^indon:Dance Books, I988[). p. 183; [N.] Malpicd, Traitesur t'Art de ta Danse. 'Menuct d'Exaudet,"figs. 4-5, 11-12; Bac(|uoy-(;uedon, Methode pour exercer roreille a la mesure, dans I'art de ladanse,panl^p. 53; Guillcmin, Choregraphie, ou t'art de decrire la danse [Parh: author and CihezPetit, 1784), p. 15; Old Master of Clerenionies, A New Treatise on the Art of Dancing,'The iMdy's Magazine; or Eriterlaining Companion for the Fair Sex, I/XVI (February July 1 785;repr. ed. 'A New Treatise on the Art of Dancing' First Published in The Ijidy's Magazine(1: Volume XVI) in Six Instalments (February; March, April, May. June, July 1785),"ed. Richard Ralph, Dance Research Xl/2 [Autumn 1993). pp. 43-59), p. 311; S. J.Gardiner, A Definition of Minuet-Dancing. Rules for Behaviour in Company &c. A Diatogue Betiveena Lady, and a Dancing-Master {M-ddc\y:}. Edmunds, [ 1 78f)]; repr. ed. Madeleine Inglehearn,The Minuet in the late Eighteenth Centurv [London: Madeleine Inglehearn, 1998]), pp. 37-9.

29. Sec Francine I_.;»ncelot,/.«5f//f/.JffHfc (Paris; Van Dieren, 1996), p. 191.30. Bon'm, Die Jveueslf Art zur Galanten und Tfieatjalischen Tantz-Kunst, p. 153.31. The passage also suggests how 'Faubcrt's figures can be adjusted to link up visually Fig. 1,

for example, ends with the couple direetiy opposite each other on the vertical axis, whilefig. 2 begins with the couple diagonaily opposite. (The reversal ofthe man's and woman'ssymbols in fig. 2 is either a tnisprint or a suggestion tbat more than one Haupi-Eigur shouldbe danced.)

32. Taubert's //flt//)/-F^r should be compared, for example, with von Feldtensiein's Z-figtire,especially with regard to the steps along the horizontals; see C. J. von Feidteiistein,Erweiterung der huiut nach der Chorographie zu tanzen, Tanze zu etfinden, und aufzusetzen, Part I(Braunschweig, 1772), Tabula WX, fig. 67.

33. Bonin, DieMue.^te Art zur Galanten und Theatralisclmi Tantz-fiunst, pp. 148-9, for example,describes only the Z-tigure.

34. I have found only one other source that uses the term Einkehren: Gerhard Ulrich AntonVietii, Versuch einer Eiuyklopadie der LAl>e.siibungen, 2 vols. (Berlin: Clarl Ludwig Hartmann,1794—5), vol. II, p. 431; also Vieth's later, unsigned article 'Menuet,' in Dr. Ceorg Kriinitz'sdkonomisch-technoto_0sche Encyklopddie., vol. 89 (Berlin: Joachim PauIi, 1802), p. 49. This isobviously a much later source, and uses the term (in its verb form) somewhal differently,to denote a specific moment in the dance, the resumption oi'Z-figures after the giving ofright and left hands: Viederuni wird in die Hauptfigur eitigekehrt' (turn once again intothe prineipiil figure). 'Faubert, howe\'er, indicates thai the Einkehren can occur more thanonce in tbe dance through his phrase: 'am Ende der Haupt-Fi,gtu; be Tn Einkehren' (whenturning in at the end ofthe principal (igure: see Table i).

35. 'Denn, daselbst hat man nichi allein Platz und Raum zu fournircn. zumal, wenn man siehbey Zeiten darzu schicket, sondern auch die Damf vor Augen, und kan man also geiiauobserviren., wenn sie einkehret, datnit man iederzeit mit ihr zugleieh iort lanizen kan, undsie nicht durch allzu langes ramien conjiis machet' (p. 731).

36. * Variatio est ab ordlnaria Jigura & praescriptis- passibus digressio, spricht ein gewisser Auctor.Das ist: In der Menuet heisset es eigentlich variire.n, wenn ein Menuet-TAnizcr unterweilenmit gutem Bedaeht von der ordentlichen Eigur und denen gewOhnhchen Hdupi-Pas deMenuel abweichet, und zu seinem und seiner Ztisehauer Plaisir c'mi^c figurirtc und weitgeschiektere i^(fto««einfuhret' (pp. 669-70; also p. 663).

37. 'Durch die Jigurirtcn Menuets aber werden diejenigen angezeiget. welche zwarhauptsachlich atis denen ordinairen Pa.\ composes de Menuet, so hie tmd da mit Batances,Contretems, Etmrets und andcrn doucen Pas maBiglieh untermenget werden; aber docli auslauter frembden Symmetmchen F'iguren und 'Iimrcn bestehen ...' (p. 616).

38. '... als: Die Alenuet d'Anjou, Menuet de I'Amour, Menuet de Dauphin, Menuet de Berlin, Menuet d'laPrincesse de Hannover, Menuet Alcide, Menuet d'Espagne, Menuet en quatre, en huit, und was siesonst fur mannichfaltige Nahmcn mehr haben mogcn' [p. 616).

39. 'Kurz: es konnen zu der Menuet alle /fe, so in der gantzen Frantzosisehen Tantz-Kunst, alswelche, wie gesaget, in das hohe Theatralischc und niedrige Kammer-Tantzen abgethcUetwird, vorkommen. und deren es, glcichwie wir unteii in dem XLV Capitel bey derFrantzosisehen Chregraphie \sir\ mit Augen sehen werden, cine nicht geringe Anzahl giebct,gar fuglich emptoyrci und angebracht werden ...' (pp. 664—5).

THE MINUET ACCORDING TO TAUBERT 157

40. The sense ofthis passage is echoed byjohann Heinrich Zedler, Lexikon alter H'i.uenscha/lenund Kumte (I.,eip/ig, 1744), col. 1763; quoted in Walter Saltnen, Dn lanznieister,Terpsichore Tanzhislorischc Siudicn I (Hikleshcim: (Jeorg Olms Verlag, 1997). pp. 22 3.

41. Taubert's minuet description in the 'Kurtzcr EntwurlV caii be compared and eontrasicdwith the two figured courantes he presents analogously at the end of his .section oncourantcs, following tlie choreographies of two simple courantes (pp. 607- 14). 'Fhe stepsin the figtired eourantes are identical to those in the simple courantes. The only difiercnceis that in the figured courantes, some step.s are made sideways and backward as well asforward, wiih frequent turns, inslead of all (bi-ward. In the figun-d i duranie with the hand{an der Hand), only the cavalier makes rhe varied steps while the kitty tl.uices forward withexactly tlie same steps a.s in In r simple couranle with the liaiid. In the fi,gured courantewithout the hand [mn da Hand), she mirrors everything the man does.

42. 'Kurz: Wenn man Lust zu haselirvn und sich zu tummebi hat; so kati die gantze Menuetdurch und dureh, fast ohne einiges Haupt-ftw, mit dcrgleichen Varialionibus ausgefiilletwerden . . . ' (p. 674).

43. 'Musico-Oratorico-Politico' [pseud.], title p. missing [12 minuets for iwo violins and b.c,with preface] (I^indon: Weiss, 1 781), pp. 2-3.

TABLE 1: STEP VARIATIONSam Anfange nach der Ausfiihrung (beginning)

in text in "Kurtzcr Enlwurfl"

• doppette Eleuret seitwarts Idnter den Euss (p. 688) • den einfachen Eteuret hinter den Euss zwey oder• Pas de Si.'i.sonne. oder Pas grave, oder Chasse de dreymal nailt der rechten Hand ... auch wol

(iique, U.S.W., then AY. mat.springen \pasjettes noch ein odeizweimat in gerader Liiiie... hinter sich zurikke] (pp. 692 '^) ruckivarts {p. 730)

• doppelte Contretems mit dem Pas fieuret riichxmLs * Contreterns mit 3. Sprungen (p. 730)(p. 702) • Pas de Sissonne dopett (p, 730)

• drey/ache Contretems riickwarb-{p. 703) • Pa'ijet.t.es Imter sich (p. 730)• halben Coupes, bey jedem Drey- Viertheit-

Tact etnr und balanciren (p. 730)

Haupt-Figur (2-figure)in text in 'Kurizer Knlwurlf

Einkehrenauf der Ecke beym Einkehren• Balance (p. 678)bey dent Einkehren• Pai de Smonne or {contretems batonne] +

dret Pasjettes orjettis battus (p. 692)verdoppette Pas de Sissonne (p. 713)

oben bei dem Einkehren /oben an der Ecke• doppette Elfiiret seitivarts hintei den Eus:, [p. 688]• doppelte Conlretems mit dem Eteuret in die Runde

{p. 700)am Ende der Haupt-Figur, beym Einkehren• Seiten-Capriolen + Pas de Bourree, Contretems, u.s.w.

(p. 727)

158 TILDEN RUSSELL

TABLE 1: STEP VARIATIONS - continuedin der Haupt-Figur an der langen Mittel-Linie schev uber den Platz (diagonal)

• doppelte Eleuret vonvarts [p. 687) • doppelte Eleuret vonvarLs rut oder zweimal

einjachen [Eteuret] mit dem hinten angehangtendoppelten Contretem\(p. 731)den doppelten und einfache.n Eleuret sajrit demdarzu gehiirigen Contretems zusammen (p. 731)man repetiretden eirifachen \Eleuret\ samtdemContretems noch einmal (p. 731)Coupe battu + Eleuret, once or twice (p. 731)Pas de Sii.\onne dnppelt (p. 731)Pcvi de Siisonne + Eleuret (p. 731)zwm Chasses de Gique (p. 731)zit'ei Pas graves Ip. 731)Pasjettes I'ier, oder acht ma! (p. 731)a \'ariation witli fieurets + tour dejambe for

behind the lady (p. 7:-il)

IM dergeraden Seiten-Linie an der Haupt-Figur (horizontal)

einfache Eleuret nach der rechten Hand (p. 686)

am Ende der Hauptfigur (end)

Am allerbesten ... am Ende derHauptfigur bey dem Einkehren

Chasse bathi en tmrnant (p. 709) • Pa.\ de Sissonne doppell {p. 731)verdoppeltf Pas de Sissonne [p. 713) * doppelte Pas de Balance [p. 73\)Tourne oder Pirouette ouvertf un tour en dehors * Contretems (p. 731)(p. 718) • Balance und Contretems {p. 731)Seiten-Capriolen {p. 127) • Batu'eundSis.sonne{p.73\)

• Eteuret double seitjuarts (p. 731)• Contretems, oder Eleuret... und die Capriole d

cote [p. 731)• z'J'f^i ('hassesde Gique {p. 731)• zwei Pas Graves ... und der einfache Eteuret

zurucke (p. 732)• Pas Jettes viermal riichverts {p. 732)• various whole or \i-£A{IHrouettes (p. 732)• eine halbe Pirouette ... und das Giquen-Chasse

(p. 732)• der Tourne, der Entre-chat gerade in die hohe

(P- 732)

nach dem Hdndegeben (after the giving of [left] hands)

in text in "Kurtzcr EntwuriV"

doppelte Eleuret seitwarts hinter den Euss (p. 688;see fig. 4, p. 660)Pas de Smonne, oder Pas grave, odtr Chasse deGique, then L\. mal springen [pasjetth ... hintersich zurucke] (pp. 692-3)doppelte Contreterru mit dem Pas jleuret rikkwarts (p. 702)dreyfache Contretmu ruckwarLi (p. 703)verdoppeJte Pas de Sis.miine (p. 713)

THE MINUET ACCORDING TO TAUBERT 159

APPENDIX 1(pp.623-4)Es bt mir nur neulich, ausser denen im vorhergehenden Capitel spec^drlvn viererleyGaltungen derer haupi-fiii de Menuet, noch ein anderer, und zwar ganz Nagel-neuer und Bad-warmer .Menuet-Pas compose demorutrin-l worden, welchen ein ruhmrc-diger Maitre. der, seinerAussiige nach, funHJahr in Pari.s bey den aller pretiosten Maitres hrtion jfcnoinmen (abcr doclikeincn einizigen Kraiiizosischen Terrninum von derwahren laiUz-Kuiisi vei-siund) von dori milsieh nach Teuischland gebracht hiitte. Und besiund dieser neu-gebackene Pas de Menuet auseiner halben Coupe, einem .steiflen Pas, wieder einer halben Coupe, und einem steifTcn Pas.

Allein zu gesehwcigen, dalJ ieh mich biBher mil unterschiedliehen exrellenicn Tantzcrn,so nicht langst aus Paris allhier in Dantzig; ankomnicn sind, wegen unterschiedener Punelevon diesem Exercitio besprochen habc, und docli gleichwol von keinem neuen Haupi-Zfei deMenuet was cHahren konnen, so bin ieh atich so gar leichtgliiubig und neu-begiei ig nichi, wieviel andere I/'ute hiesigcs Ort.ssind, dal ieh stracks alles, was sich ciner von dort her/u habenrUhmet. git ii h als ob es von dem Himme! herab gefallen ware, approbircn und acceptix-cn solte;Nein! ieh pruic \'ielmehr die Geisler, und untersuchc die Sache selbst, ob sie besser, odersehlimmer sey.

Anatomire ieh mm dieses Monstrum von Menuet Pas: so befinde ieh, daB er cbcn sowunderseltzam, als der allerersle Pas, da die Menuet in Frankreich aufkommen ist, und vonwclchem wir schon in dem vorigen Capitel erwchnet haben, dai5 er aus eincni verdoppellenMouvement besiiuiden, aussiehet. Denn es hincket dieser neu, modischc Pas dc Mamet zwcymalauf dem lincken Bein; aber doeh nieht, wie jener, straeks zweymal nacheinander, sondern nurso oflt man daniulVirilt ...

Und durilu' mich dififalls schwerlich ieniand per.suad\vvn. da(i die ingeniihcn Franlzosen,welche die wahre rantz-Kun.st von lage zu lage zu emendircn beniiihet seyn, soihancMiligeburlh ztir Welt und ztmi Vorschein gebracht hatten; sondern glaube vielmehr, d;ilt ilinder HcvvMaitre, als wclcher, mit jenem Quaeksalber, das mundus vult decipi perject studirvl halte,und wol wuste, dafi es allhier Leute gSbe, welehe in der Welt nichts hoher, als was in kurzenaus Frankreich herkommen, aestimiren, um sich dadurch zu .signalisin'u und eincn Applausum /uerwerben, aus seinem eigenen Geliirn gesponnen liatie. Aber cr schkig einen blossen.

(p. 618)Denn, gleiehwie es stracks vom Anfange, da die Menuet in Frankreich aulliommeu. ergangenist, daB einige Maitres mil dem damahligeti Pas de Menuet gar nicht zuliieden, sondern ailezeildaraul bedaeht gewesen sind, wie sie eine andere und verbcsserte Art erforschen mochten.Und mag ieh hierbey nicht weitlauiTtig anltihren, wie lacherlich der allererste Pas de Menuetbeschaifen gewesen (als welcher aus einem doppelten Mouvement auf einem Bein, und 3.sieitTeii Schriiten bestanden hat; Wofern anders demjenigen zu g[l]auben ist, was iehiihrilaiigst aus einem Franlzosischen Maunuscript vernommen habe, welches mir einvornehmer Mann dieser Stadt (Danizig) der es noch in scinen Reise-Jahren von einem Maitre,Nahmens /^lemps, zu Paris, als ein sonderl)ahres Praesent i:n-ipidngt:u, comniunicirel hat,) und wieer immer von einer Zt it zu der andern veriUidert und verbesscrt worden ist...

(p. 633)Hernach wird auch bey dieser ersten Sorte derer Menuet-Pas eine grossc Ungleiehheil derersteilTen und gebogenen Sc hritte remarquiT<;i. Denn, weil man dabey nur ein cintziges mal, alsbeym leizlcn Viertel von den zusammcngehorenden zwey Drey-Mertel-Tflfft-n, aul' demlint ken Bein beuget; so werden ja iederzeit fiinlT V'iericl steilT, und luir ein einiges, als dasscchste und letztere, und zwar allemal auf dem line ken Bein gclK>gen tanlzel, welchesgewiBHch einem solchen .Menuet-'Ya.ni/.cY, zumal, wenn er etwas tiefV coupircU lucht miderslasset, als wenn er den hinckenden Mephiboseth repraesentiTV.n wolte.

(pp. 527-8)Das ordenlliihe Pas de Menuet bestehet atis vier einzelnen Schritten und zwey Drey-Viertel-Tactcn, das ist, aus einem Tantz- oder zwei Spiel-Tuc/en, und isi diBfalls n<.K:h Ungc keine

160 TILDEN RUSSELL

rechle Cadence und richtige Kintheiliing dcrer Schritic nach dem Tact vorhanden. ob mangleich iederzeit/'mccw, wenn die zwey Drewiertel-'/flc/c schliessen, auch zugleich mil denendarinnen verfaBtcn ordinairen vier Sehritten ferlig ist; wie sich wol viel TauV/.-lnfirmatoreseinbilden, woraiis aber deutlich gcnung crhellet, daB sie die Cadence selber nicUxJundamentaiiterin Symrnetria und a tempo verstehen, und sie ronsequenter keinem Scholair tlteoretite zeigen konnen;Nein! man mulJ vielmehr iedes mal auf dem ersten Schritte beym Niederschlage zwey. und aufdem andern beym Aufhube nur ein Viertel, auf dem dritten Sehritt wieder zwey, und auf demvierdten nur ein vicrtet vom 'lacte zu bringen, wofern es anders eine accurate Cadence undHintheilung der Schritte nach dem Jacte seyn und heissen soil.

(pp. 630-1)Doeh ist bey weiten noeh keine symmetrlsche Cadence und riehtige Eintheilung dcrer Sehrittenach dem Tact verhanden, ob man gieich iederzeit praecise, wenn die zwey Drey-Vierle! Notenschliessen, auch zugleich mit dem darzu verordneten Haupt-Z'flj ferlig ist, wie sich wol vielebey ihrem Tantzen vergeblieh einbilden; Nein, es muB vielmehr ein ieder Sehritt seine gewisseMensur und Abtheilung von den zwey Drey-Viertel-7«6^2 haben, und zwar so, daB maniederzeit iiber dem ersten Sehritt zwcy. und uber dciti andcrn nur ein Viertel (das ist der ersteDrey-Viertel-Tact) iiber dem dritten wieder zwey, und (ibcr dem vierdlen nur ein \'iertel vomTacte zubringct (das ist der andere Drey-Viertel-Tad).

Hat man also iederzeit uber dem ersten und dritten Sehritt, als welche beyderseils mitdem rechten Bein verriclUet WTvdcn.justement noch einmal so lange Zeil, als uber dem andernund vierdten, welche mit dem lincken geschehen, zuzubringen: Und werden die erstenbeyden Sehritte, davon der eine mil dem rechten, und der andere mil dem lincken Beingeschiehet,jM.s/ mit dem ersten Drey-Viertel Noten; und die andern beyde, davon der ersteabermal mit dem rechten, und der andere mit dem lincken Bein verrichtet wird, mit demandern Drey-Viertcl-Noten angefangen und vollendet, als welche zusammengchorende zweySpiel-Tacte eine Cadence ausmachen, und gar leicht am Klange gehOrel werden konnen,Dcnn. ob woi immer eine Menuet-Melodic deutlieher. a!s die andere, zum Schritten gesetzel ist;so horet man doeh fast jedes mal bey dem Ende dcrer zusammengehorenden zwey Drey-Viertel-Noten eine Intercision und Abschriilt, gleich als ob sich dasetbst ein Gesetziein endigte,und bey den folgenden zwey Drey-Viertheii-Noten ein neues anfinge. Derowegen sie auchallezeit beysammen blciben und niemals getrennet werden durfVen.

Und eben dieses ist derjenige Vortheil und Avantage, dadurch man einem Indpientcn dieCadence mit gar leichter Muhe, ja einem Kinde, wie die tagliche Erfahrung bezeugct, eben soleicht. als dem bestcn Muslco, beybringen kan. Nemlich: wenn man dasselbige nur stracks amAnfange zu der Zahl der \'icr Schritle im Menuet Pas gewohnet, und jederzeit, wenn es zumerslen mal fortschreitct, welches aliezeit mit dem reehten Bein geschiehet, zehlen liisset: Kins.Zum andern mal, welches mit dem lincken Bein gcschiehet: Zwey. Zum dritten mal: Drey.Und zum vierdten mal: Vier. Und darneben fleiBig erinnert daB das Kind allemal auf demrechten Bein. als bey dem ersten und dritten Svhnti Justetnmt noch einmal so lange, als beydem andern und \ierdten auf dem lincken halten und zubringen musse; Bevoraus, wenn manihm beym fertigern Tantzen under der Music das Eins, Zwey, Drey, Vier selber nach dersymmetriachcn Cadence vor zehlet, dabey selber Hand anieget, wie auch unter dem Geigen oderSingen an den besagten Orlen der Meiodie, allwo es vor andern etwas langer hallen muB,durch ein scharfferes Gethone mit der Stimmc oder Viotine, glcichsam als durch einen Accent,die Cadence exprimiiQl.

(pp. 644-5)Ob aber eine so grossc Hotlichkeii, Zierlichkeit, oder Commodiial vor das Frauenzimmerdarinnen bestehet, wenn man im Fortfiihren seine rechte Hand unter ihrer lineken Handtraget, wie einige vorgeben, kan ieh eben nicht sagen, cs sey denn, daB man einen Unterseheidzwischen der Ftihrung beym Tantzen, und der Fuhrung bey der Conversation machen wolle.Fuhret man eine Dame ausserhaib dem Tantz von einem Orl zutn andcrn, so ist es derCommodn^\ wegen freylich weit besser. daB man die rechte H;uid unter derselben ihrer linckenHand oder Arm halt, damit man sic sokhcrgeslalt. als ein subtika und schwaches Werck/eug,desto fuglicher heben, und vor irgends einem Fall oder AnstoB bewahren kbnnc; Im Tantzen

THE MINUET ACCORDING TO TAUBERT 161

aber mag der Cavalier die Hand uber oder unier der Damen ihrer Hand halten, sondcrlii hallhier bey der Menuet.

Doeh ist es gebrauihlither unten; aber conmwder oben, weil man auf dicse Weise nichtallein bey der Fuhrung in der Menuet den Arm cbcn so gut \-on sicli strecken, und also die Dameganiz commode regieren kan, als wenn man die Hand unten traget: sondern auch bey derP'tihrung in der Courante, allwo sie nothwendig hinten auf der Huffte ruhen muIJ, den Armohne die geringstc incommoditiH darnach beugen und bequemen kan, welches aber, wenn dieHand unten ruhel. ohne grausamen Zwanck. ja gantz und gar nicht geschehen k;ui.

(].p. 642-3)Einige pflegen ihre MittSnzerin stracks nach gemachter zweyfacher Reverence, gleich wie sieoben in dem X\ ' Capitel ist beschrielx'n worden, nach der lincken Hand aufwartsIbrlzuliihren. Andere hingegen stehen vorher einen /^t de Menuet lang, das ist, zwey Drey-Viertel Noten stiile: Oder aueh, wenn die Revernice nicht nach der Cadence gelungcn isi, nureinen Tact, und das ist ein guter Noth-Nagel. Noch andere machen erst eincn Kuck-ft.v hiniersich, wie sie itzt nach der andern Reverence stehen. Wieder andere einen Seitcn-/1iT, als der(.'am/iVr gegen die rerhte, und die Dnmcgegen die lineke Hand abwarts, und naeh demjenigenOrt zu. allwo sie die Reverence angehoben haben. Noch andere treten erst und /war gantznegtigent wieder hinter sich zurucke an den besagten Ort; vMsdenn flihren sie die Dame miiicnauf den Piatz. und lassen sie daselbst von sieh in die Haupt-Figur eingehen.

Doeh beydes wieder auf unlerschiedlichc An und VVei.se: Einige fubren ihre Dames mitlauter \'or-Pas: Andere mit lauler Seiten-Ziu. davon der reehte FuB enlwedei allemal liiiucnweg, oder auch weehsels-wcise, als das erstemal vor. und das anderemal hintergesetzct wird:U'nd wieder andere mit Seiten- Vor- und Ruck-fiu auf einander dahin. So lassen auch einigeihr Frauenzimmer augenblicktich, so bald sie mitten auf den Platz kommen. von der Hand ab;Da hingegen andere zuvor tnii ihr entweder nach der reehten oder lincken Hand zwey billdrey Vor- Seiten- oder Ruck-Zfei rund um tantzen, welches aber alles gleich viel gilt.

(p. 666)Wcrde demnach keinen Fehler ve[r]gehen, wenn ieh einem jeden Scholair, welcher beyErlernung wenig 'Fiuilze nettr tantzen lernen will, rathe, daB er sich bey Zeiten in der Capriceube, nicht, daB er ex tempore eine Gique oder Sarahande tanlzcn solte, sondern daB er einenVorrath von allerhand wolstandigen Variationitms, das ist. Jigurtnv.n Pas composes und lourseriangen, und diesclben zu der Menuet emptoyvcn lernen wolle, weil doeh bey dieser Zeit fastnichts, als die Menuet in der Conversation getantzet wird, damit er nieht immer einerley Waarezu Marckic bringet, sondern abwechseln kan, und wenn er wieder Vcrhollen irren morhte,sich mil einem andcrn Schritl oder Sprung wieder zu rechte zu heltFen wciH.

(pp. 679 80)Das modeste Frauenzimmer hai mit den Battanens und andcrn Zienatlu n derer Fusse nichls zuschatTen, weil man solche wegen der langen R()cke nicht sehen kan; sondern bleibet allezeitbey dem ordinairen Balance, und verrichtet solches, wie kurtz \orher isi definite angezeigetworden. Die Beugung dabey gesehiehet in solcher Form, gleiehwie bey der ReverenceWeiblichen Ceschlcchts, neniiich. mit auswarts gebeuglen Knien, zurucke gezogenen Unter-iA-ibe, Schuliern und KopfT, und voi-warts gelasscncr Brust. Unter dem Heben oder Strecken/ielieii sie den Kopff cin klein wenig nach der andern Seite, das ist, das erste mal uach derlincken, und da.s andere mal nach der reehten, als wodurch denen Dames eine nicht geringeGrace zuwachsel; Doeh mussen sie der Saehe nicht zu viel thun. Denn einige wollen dabeycharmircn; aber sie affictjrvn und versteilcn sich mit gedreheiem Halse, hangendem Roplle,und gekriimmtem Lcibe dergestalt, daB man diBfalls biilich Passion mit dieser ihrer Prostitutionhaben muIJ.

(p. 704)Es hat das Frauenzimmer bey seinem Contretems alles dasjenigc zu beobachten, was die Manns-Personen dabey zu beobachten haben, als welchen wir kurz vorher bey dem einfaehenContretems vorwarts dcutUch beschrieben haben; ausser, daJi sic nicht springen, (oticr doeh

162 TILDEN RUSSELL

wenigstens gantz massig,) noch mil den Fusscn battircn. Denn, nachdem die Menuet zu dieserZeit allenthalben, auch von den ailer galantestcn Tantzcrn, dcrmassen douce getantzet wird,daB mail fast keinen eintzigen Sprung mehr dabey verspuhrel; als kan man gar leichtschliessen, wie sehr dasjenige Frauenzimmer wieder das Douceurpeccirct, welches den (Contretemsbey deni Hande-geben dermassen slarck springct, daB zu gleich die Eontange auf dem KopfTebebet und gleichsam lebendig wird, gieichwie es unterweilen geschiehet.

(pp. 348-9)... Gott der Allerhbehstc nicht nur allein durch diese Worte: HeiJig, HeiJig, Heilig! auf eineStelle sitzend, oder stehend. gelobet wird; sondern auch durch alJe woleingerichtetewlirckiiche Operationes, so nieht nur durch das (iehore, oder zu dem Gehore \ errichtet werden,sondern,so wot flctoif, als/JOHW durch und vor alle funfTSinne gescbehcn. Denn, GOlt hat siedoeh alle fUnffe zu einem Lobe und Ehren geschaffen. L'nd unter diese Operationes nungehoren auch biilich mit die durch die veritable Tautz-Kunst wo\-regulir\cn VerhaUungcn imGehcn und Stehen, in Ehrerbietigen GeMibus und Reverenzen, und auch in I'Veuden-Bezeugungen, wobcy denn das wol-reguHrtf:. Tantzen mit nichten eine blosse viehischeAuslassung der Lust, sondern eine gereehte Moderation derselben ist, dadureh die natiirlichenGe.^tus rechl menschlich. vernUnfliig, und GOtt wolgefalUg, regutircl werden konnen und sollen.

Und kann also ein Mensch von guter Art, wenn er tantzet, oder tantzen siehel, gar wolin seinem Hertzen GOtt den .MIerhochsten ehren, loben, und ihm fiir diese oder jene Wolthatdancken.