Double figure eight
Having decided that a draw Poussette is a twentieth century invention, I've now decided the same about a double figure eight. Don't get me wrong — I think it's a lovely move and I've used it in many of my own dances — but I'm not happy with interpretations of old dances which throw it in without any justification. No, that's not fair: the justification is to give the twos or threes more to do. It's a question of how rigorous you want to be, and I'm more rigorous than most. For instance, St. Martin's Lane is a triple minor where the ones do a full figure eight down through the threes, a full figure eight up through the twos, and a two-hand turn in second place. Christine Helwig's interpretation has a double figure eight at each end and everyone doing the two-hand turn. Tom Cook's version of Kelsterne Gardens has the ones and twos doing a double figure eight instead of the ones doing a figure eight — there are many more such examples, and I happily call those two versions myself.
Admittedly there's at least one dance in Henry Playford's editions of the Dancing Master which does seem to contain a double figure eight. Devonshire-House (10th Edition, 1698) starts:
First cu. cast off, the 2. cu. leading up, change places at the same time; 2. cu. cast down, 1. cu. lead up, changing places as before, men being on the wo. side…This reads to me like a half double figure eight — the ones casting and crossing up as the twos cross up and cast — and Henry Playford adds the phrase
men being on the wo. sideto reassure us that we've understood it. But he's spelt it out in detail, rather than the conventional “go the figure…” which says to me that what he's describing is not a standard move.
In “The Scotch Measure” Thomas Bray also describes the motion of a half double figure without giving it a name. The couples are progressed and improper; this is the final move to get them back on their own sides.
1st. cu cross over up the middle, 2d. cu. cast off at the same time, then 1st. cu. cast off and 2d. cu. cross over up the middle
In the 9th Edition version of None such (no connection with the earlier 4 couple dance, so Tom Cook called it “Nonesuch II” in his interpretation), John Playford says,
The 1. cu. being in the 2. cu. place, go the half Figure above till they come into the 2. cu. place, the other do the like at the same time
which might describe a half double figure eight without exactly naming it, though I'm doubtful. The twos don't really do the like
— a half figure eight means cross through a couple and then cast, not cast and then cross through. Besides, that would only take 4 bars -Tom had to add “cast and lead, lead and cast” to fill up the music — and I suspect that at the same time
really doesn't mean that, and it should be the ones doing a half figure eight up and then the twos doing a half figure eight down.
So here are two dances — possibly three — which describe what we would now call a double figure eight. That's not many!
Henry Playford, and later John Young, actually use the term “double figure” in a number of dances, but I believe they usually mean a full figure eight, whereas “go the figure” or some such phrase usually means a half figure eight but could also mean a full figure eight. And occasionally there's mention of a “single figure” which I take to mean a half figure eight. And occasionally the books say “double figure” when it's only a half figure. And then the start of the Dancing Master 7th Edition says, to my total confusion,
The Figure half round, is the Hey ha'f round.
The whole Figure is the Hey all four round.
George Williams points out that none of the sources calls it a “double figure of eight”, it's always just a “double figure”. Bray doesn't use the term, Kynaston doesn't use it, nor does “A Person of Quality”, nor any of the other contributors to Walsh's annuals.
The problem is that interpreters assume there was a standard definition of terms from 1651 to 1800 or whenever, and of course there wasn't — different contributors used different terms or used the same terms to mean something different. And it's still happening today — when I say “ladies chain” I mean one way only, whereas a lot of callers in England refer to that figure as “half a ladies chain”. The same with “right and left through”.
However there are instructions which are obviously not what we know as a double figure eight.
According to Bob Keller's index, the only dances in The Dancing Master which mention “double figure” are:
Bohemia
Cheshire Alley
The Disappointed Widdow
The Fidler's Morris
Frisk it Freely
Furbelows and Apricocks: or, The Mad Frolick
The Gilford
The Hare's Maggot
Jack of the Green: or, Birkhead's Masque
Lord! what's come to my Mother?
Maids Morris
The Mansell
Mellacholly Madam
Mr. Prince's Scotch Dance
Softly Robin
In fact he missed “Maids Morris”. George Williams has produced a page listing them: upadouble.info/sources.
Bohemia
Original wording:The first Couple lead forward and back again, then lead through the second Couple and cast up into your own places, then cast down again . The first Couple lead down and up again, then leading thro' the second Couple cast down and up again : Then first and second Men doubl Figure on the Womens side, the first Man casting down into the second Man's place . Then the two Women do the same on the Mens side, Then the first Woman casting down :
As I say in my interpretation of Softly Robin, if it were what we mean now by Double figure eight it would presumably mean that as the men start to figure eight through the women, the women move over to the men's side and then cross through the men as they come back — but then it's not on the women's side, it's in the centre of the set. I think it just means that the men do a figure eight through the women.
Unlike “Softly Robin” this is in triple-time and it must surely be 6 steps to the bar to fit the figure to the A-music, so in this case there would be time for a full figure eight (18 steps) followed by 6 steps for the first man to cast and the second man to move up.
Cheshire Alley
Original wording:The first man cast off behind the second man, and turn his Partner once round; The first woman doing the same with the second man: The first cou. being in the second cou. place, go the double Figure through the 3d. cou. and turn each other.
My wording is from the 12th Edition which has minor differences from the facsimile and what we would consider the normal spelling of “Alley”. I believe this is just the ones doing a full figure eight down through the threes. I also suspect there's something missing, since A1 is the double figure eight and you really can't take 8 bars (16 walking steps) for the ones to finish with a two-hand turn. If I were interpreting this dance (which I'm not) I'd add the ones leading up through the twos and casting back to second place before doing a two-hand turn.
The Disappointed Widdow
Original wording:Note: The Tune must be Play'd three times over. The first and second Man double Figure on the Women's side, and then turn one another . Then the first and second Women double Figure on the Mens side, and turn one another : Then all four Hands round, then cross over and turn Partners .:
The tune is an 8-bar jig, and both the instructions and the underlined dots confirm that three times through the tune is once through the dance. The same comment as for “Bohemia” and “Softly Robin”, and provided you remember that “Cross over” means cross and cast you won't have any difficulty in interpreting this.
The Fidler's Morris
Original wording:The first couple cast off below the second couple, set and cast up and cross over; then cast off below the 3d. couple, set and cast up and cross over; then lead up to the top and cast off and turn your Partner, then go the double Figure, and right and left quite round.
The semicolons might indicate the end of A1 and A2; after that we're on our own but there seems far too much for two B's so I would say B1 is lead up, cast and turn, B2 is a full figure eight through the threes, and B3 is four changes with the twos.
Frisk it Freely
Original wording:Note: The Tune to be play'd quite through. The first Couple lead through the second Couple, and go withoutside below the third Couple, then lead up through the third Couple and cast up to their own Places. This to the first Strain play'd once. Then the double Figure round the second Couple, and Right and Left till they come into the second Couple's Place. This to the second Strain play'd once.
I take play'd quite through
to mean “no repeats”, just one 8-bar A and one 8-bar B. Yes the ones' weaving track — a figure of eight on their own side — will fit A1, but a full figure eight followed by three changes certainly won't and a half figure eight leaves the ones on the wrong side. You could make a case for the modern meaning of a half double figure eight which would leave both couples improper and then two changes to progressed places, but I really don't believe it.
Furbelows and Apricocks: or, The Mad Frolick
Original wording:The first Man Figures between the 2d and 3d Men, and come up in his own Place again, and the Wo. double Figures at the top at the same Time . Then the first Wo. Figure between the 2d and 3d We. and her Partner Figures at the Top : Then change Places, the first Man with the 2d Wo. his Partner change at the same Time with the 2d Man, then lead his Partner through the 3d Couple and cast up, then Hands half round, then Right and Left to the Bottom.
The tune 
is a jig with an 8-bar A music and unusually a 10-bar B-music. John Young gives underlined dots for the two A's, but then gives up completely for (presumably) the two B's. Here's a dance where it can't possibly mean what we now call a Double figure eight, since the lady is doing it on her own through the top couple while the man does a figure eight on his own side. (There's another dance where this happens, but I can't remember which one.) So in both cases it's a full figure eight, despite the terminology. And in A2 he doesn't even use the word “double”.
If you want to interpret the B part, I would say
| B1: | (10 bars): First corners cross; second corners cross. Ones lead down through threes and cast up. Twos and ones circle left half-way (2 bars). |
But that get everyone home (particularly the threes who haven't moved at all!) and you'd expect three changes for the progression, which would be a maximum of 6 bars, 4 walking steps per change, so what do we do with the extra four bars? And there's that odd addition to the bottom
which doesn't mean anything in a triple minor as it would in a 3 couple set. Your guess is as good as mine.
The Gilford
Original wording:The 1. and 2. man take hands, and lead through the women and turn . The women do the same : The 1. cu. cross over and go the half Figure . Then go the double Figure through the third cu. .
No difficulties of interpretation here, and I believe that having done a half Figure
the double Figure
is a whole figure eight.
The Hare's Maggot
Original wording:The 1. Man goes in between the 3. cu. round the 2. Man, and turn the 2. Wo. . His Partner does the same likewise on her side : Both clap sides and cast off, Then Right and Left quite round . Then go the double Figure in the third cu. then turn his Partner :
See My interpretation for more information. Pat Shaw obviously didn't believe it meant the modern version of a double figure eight, since in his interpretation (in the book “Another look at Playford”) he just has the ones doing a figure eight and notes that the third couples play no active part in the dance
.
Jack of the Green: or, Birkhead's Masque
Original wording:Note: The first and second Strain is to be Play'd twice over, and the last but once. First Man double Figure round the 2d. and 3d. Man, the first Wo. do the same on her side, 'till in their own places . Foot it to one another and turn S. Then Foot it to the sides and all four turn S. : First Man cast off and turn the 3d. Cu. half round, and cast up into the 2d. Cu. place . Then first Wo. cast off, and turn the 3d. Cu. half round, and cast up into the 2d. Cu. place : Then first Cu. change places and Foot it, with their Backs to each other: Then each turn to the Right-hand and change places again and Foot it, and slide up on the out-side into your own places, then lead thro' the 2d. Cu. and turn single.
The tune is a triple-time hornpipe which appeared later (around 1770) in “Thompson's Compleat Collection of 120 Favourite Hornpipes”. Each of the three parts is 4 bars — 12 walking steps. I may do a full interpretation at some stage, but for this page I just need to note that double Figure
must mean “full figure eight” since the ones are each doing it on their own side.
Lord! what's come to my Mother?
Original wording:Note: Each Strain is to be Play'd twice over. The first Man turns the second Woman, then he and the second Man leads through the first and second Woman, and so come in their own Places again . Then the first Woman begins and does the same . Then both cast off and Clap twice, and cast up to the Top, then Right and Left quite round, then cast off and double Figure between the third Couple, and so turn it out.
The tune is a jig with an 8-bar A and B, also used for the dance “The Wickering Wench” in Maggot Pie. John Young says there are two of each but he doesn't explain how the B section fits the music, possibly because he couldn't work it out himself! But as usual I believe that double Figure
means a full figure of eight.
Maids Morris
Original wording:
The two men take hands and fall back, then meet their Partners and turn S. the two we. doing the like afterwards.
All four take hands and go half round and turn S. then half round and back again, then the double Figure and the 1. cu. lead down the middle.
Sharp converts the final move to four changes, three steps each, and then the ones lead down as the twos cast up to progress. A double figure eight would certainly work better here, starting with the ones crossing down and the twos moving up the outside, flowing smoothly into the progression rather than losing the phrasing of the four changes and the first man having to do an awkward turn back. But I believe Playford just meant “full figure eight” and I've now updated my interpretation to reflect this.
The Mansell
Original wording:The 1. man set and turn single, then turn the 2. wo. . The 1. wo. does the same : then the 1. cu. leads up and the 2. cu leads down, then right and left quite round, clap and cast off, and double Figure at the bottom, clap and lead up and cast off.
My wording is from the 12th Edition; there are minor changes in the facsimile. The tune is a reel with a 4-bar A and an 8-bar B. Again John Young gives underlined dots for the easy bits but not when the going gets rough, and I assume it's 4 steps to the bar rather than 2.
Mellacholly Madam
Original wording:The first Man cast off and go tho' the third couple, and cast up into the second Couples Place . Then the first Woman do the same : Then the first Couple double Figure with the third Couple . Then double Figure with the second Couple, and then turn Partners.
The tune is a reel with a 4-bar A and a 6-bar B, and I've no idea how the dance is supposed to fit it!
Mr. Prince's Scotch Dance
Original wording:The first Man turn his partner quite round with both Hands, then cast off behind the 2d. Couple and double Figure with the second Couple . Then double Figure with the third Couple, and lead thro' the top, then cast down into the second Couples Place :
The music is a 26-bar reel with no indication of where the A music ends. I don't think I want to go into that. And of course you could argue that with
means the other couples join in — I'm just presenting the evidence, not trying to force you to agree with me.
Softly Robin
Original wording:Note: Each strain twice The first Man turn his Partner half round, then making a little stop, turn her into her own place : The two Men and the two Women turn one another half round, making a little stop, and turn into your own places : The first and 2d Man double Figure on the Womens side, and turn one another 'till in your own places; then the first Man cast off : Then the Women double Figure on the Men's side and turn 'till in your own places; then the first Woman cast down.
See my interpretation.
So guess what — I don't know all the answers! I just want to raise the question, and maybe after I'm dead somebody will write a PhD thesis on the topic.
