Regency Etiquette

A Brief Discourse on Etiquette and Dancing of the Regency Era, namely 1790 until 1820, from primary sources and other well researched articles for the benefit and education of all involved in a historic dance presentation to be held at the historic Daniel Boone Home on Saturday, September 19, and Sunday, September 20.

“Then David danced before the Lord with all his might...leaping and whirling before the Lord.”

~ 2 Samuel 6:14,16

Instances of Ill Manners, to be carefully avoided by youth of both sexes, from The Gentleman’s and Lady’s Companion, 1798 Omitting to pay proper respect to company, on entering or leaving a room; or paying it only to one person, when more are present. Entering a room with the hat on, and leaving it in the same manner. Setting still on the entrance of your instructor, strangers, or parents. Omitting the proper attention, when waited on by superiors. Passing between the fire and persons sitting at it. Whispering, or pointing in company, and standing between the lights and any person wanting it. Contradicting your parents or strangers who are any way engaged in conversation. Laughing loudly, when in company, and drumming with feet or hands. Swinging the arms, and all other awkward gestures, especially in the street, and in company. All actions that have the most remote tendency of indelicacy. Leaning on the shoulder, or chair of another person, and overlooking persons who are writing or reading. Throwing things instead of handing them, and crowding others in a passage, or urning against their elbows. Contempt in looks, words, or actions, for a partner in dancing, or other persons. All instances of that ill judged familiarity which breeds contempt. Lolling on a chair when speaking or when spoken to, and looking persons earnestly in the face without any apparent cause. Surliness of all kinds, especially on receiving a compliment Distortion of countenance, and mimicry. Ridicule of every kind, vice or folly. A constant smile or settled frown on the countenance. Mirror of the Graces, 1811 The body should always be poised with such ease, as to command a power of graceful undulation, in harmony with the motion of the limbs in the dance. Nothing is more ugly than a stiff body and neck, during this lively exercise. The general carriage should be elevated and light; the chest thrown out, the head easily erect, but flexible to move with every turn of the figure; and the limbs should be all braced and animated with the spirit of motion, which seems ready to bound through the very air. By this elasticity pervading the whole person, when the dancer moves off, her flexile shape will gracefully sway with the varied steps of her feet; and her arms,

instead of hanging loosely by her side, or rising abruptly and squarely up, to take hands with her partner, will be raised in beautiful and harmonious unison and time with the music and the figure; and her whole person will thus exhibit, to the delighted eye, perfection in beauty, grace, and motion...The English country-dance, as its very name implies, consists of simplicity and cheerfulness. From a Letter Written by Lord Chesterfield to His Son, c. early 19th century “Now to acquire a graceful air, you must attend to your dancing; no one can either sit, stand or walk well, unless he dances well. And in learning to dance, be particularly attentive to the motion of your arms for a stiffness in the wrist will make any man look awkward. If a man walks well, presents himself well in company, wears his hat well, moves his head properly, and his arms gracefully, it is almost all that is necessary...Remember to take the best dancing-master at Berlin, more to teach you to sit, stand, and walk gracefully, than to dance finely. The Graces, the Graces; remember the Graces! Adieu!” Notes and excerpts from “Every Savage Can Dance,” a modern article posted on the website Jane Austen’s World A gentleman never asked a lady to dance unless he was first formally introduced to her. If there was a young lady whom he desired to dance with but was not aquainted with, he would ask the hostess to introduce him. When a dance began, those of the highest social status would take their places at the top of the set, and everyone else would stand behind them according to rank. “A gentleman, if he applied himself, could skillfully lead the conversation and put a young lady at ease, or pretend to be interested in any topic she brought up.” Dances could last for up to thirty minutes, and it was not uncommon to dance two dances consecutively with the same partner. Notes from an article published on the website Maggie May’s Costume History Pages A gentleman always followed a lady down the stairs and proceded her up the stairs.