Both Pride & Prejudice (1995) and Emma (1996) had their male and female leads dancing different versions of the same dance - Mr. Beveridge's maggot. Here's some info I found online about this dance. _Beverdige was a court dancing master whose hey-day was in the 1680's in England and who, along with Issacs, began devising maggots--distinctive longways country dances set to triple-time hornpipes. A maggot was another name for a dram, a diminutive unit of liquid measure, but also meant a trife, whim, a plaything, or a small thing of little consequence, from the Italian "maggioletta". The Maggots began appearing in Henry Playford's Dancing Master ninth edition (1695), and the appendix to that edition, entitled The Second Part of the Dancing Master, contains most of the 24 dances attributed to Beveridge. This melody dates to that time when it was printed by Playford along with directions for a country dance. The tune and dance were retained in the long-running series of Dancing Master editions through the 18th and final edition a 1728, published at the latter time by John Young, Playford's successor. The tune, as "Beveridge's Maggot," was also published by rival London music publisher John Walsh in his Compleat Country Dancing Master (1718, p. 193)._ _Many English Country Dances, like American contra dances, are danced to a pair of phrases of music played AABB -- i.e. the first phrase is played twice, and then the second twice. In contrast, the generally accepted version of Mr. Beveridge's Maggot--a version usually attributed to Pat Shaw--has the structure AAB. This is the version given here. When Cecil Sharp interpreted this dance for modern consumption, he decided he could not get all the instructions to fit into so little music, so he published a dance to fit AABB. Cecil Sharp's version is also widely known, and is given in Palmer's Pocket Playford. This dance was originally printed in Playford's Dancing Master in 1695. Although neither this particular dance nor the duple minor formation it is in were being used in Jane Austen's day, the dance is a very 'cinegenic' dance. I'm not here giving the Cecil Sharp version which has a longer B part dance sequence to fill out a repeated B part (even though the original clearly says play the second strain but once). I'm here giving a closer-to-original Dancing Master (1695-1728) version. This is the sequence they dance in the movie Emma, but in that movie they dance the sequence just once then go into a snowballing cast off. P&P has the same non-Sharp B part as given below and used in Emma (with the dramtaic up and back) but for the A part has everyone r.h. turn, l.h. back, then 1s cross, cast, cross back up. I suspect this change from the original was probably inspired by the need for a more dramatic face-to-face beginning to a dance that was to be the vehicle for a 'battle' between the two protaganists, without giving away altogether a dance which offers the lovely, camera-confronting, film-effective, 4-in-line (with Darcy and Elizabeth 'trapped' side-by-side in the middle) up and back figure._ Source: tunearch.org/wiki/Annotation:Mr._Beveridge%E2%80%99s_Maggot janeausten.co.uk/blogs/home-and-hearth/how-to-dance-mr-beveridges-maggot
*EMMA* They were interrupted by the bustle of Mr. Weston calling on every body to begin dancing again. “Come Miss Woodhouse, Miss Otway, Miss Fairfax, what are you all doing?-Come Emma, set your companions the example. Every body is lazy! Every body is asleep!” “I am ready,” said Emma, “whenever I am wanted.” “Whom are you going to dance with?” asked Mr. Knightley. She hesitated a moment, and then replied, “With you, if you will ask me.” “Will you?” said he, offering his hand. “Indeed I will. You have shewn that you can dance, and you know we are not really so much brother and sister as to make it at all improper.” “Brother and sister! no, indeed.” *Vol III, Chapter 2*
*PRIDE & PREJUDICE* When the dancing recommenced, however, and Darcy approached to claim her hand, Charlotte could not help cautioning her, in a whisper, not to be a simpleton, and allow her fancy for Wickham to make her appear unpleasant in the eyes of a man often times his consequence. Elizabeth made no answer, and took her place in the set, amazed at the dignity to which she was arrived in being allowed to stand opposite to Mr. Darcy, and reading in her neighbours’ looks their equal amazement in beholding it. They stood for some time without speaking a word; and she began to imagine that their silence was to last through the two dances, and, at first, was resolved not to break it; till suddenly fancying that it would be the greater punishment to her partner to oblige him to talk, she made some slight observation on the dance. He replied, and was again silent. After a pause of some minutes, she addressed him a second time, with- “It is your turn to say something now, Mr. Darcy. I talked about the dance, and you ought to make some kind of remark on the size of the room, or the number of couples.” He smiled, and assured her that whatever she wished him to say should be said. “Very well; that reply will do for the present. Perhaps, by-and-by, I may observe that private balls are much pleasanter than public ones; but now we may be silent.” “Do you talk by rule, then, while you are dancing?” “Sometimes. One must speak a little, you know. It would look odd to be entirely silent for half an hour together; and yet, for the advantage of some, conversation ought to be so arranged as that they may have the trouble of saying as little as possible.” “Are you consulting your own feelings in the present case, or do you imagine that you are gratifying mine?” “Both,” replied Elizabeth archly; “for I have always seen a great similarity in the turn of our minds. We are each of an unsocial, taciturn disposition, unwilling to speak, unless we expect to say something that will amaze the whole room, and be handed down to posterity with all the éclat of a proverb.” “This is no very striking resemblance of your own character, I am sure,” said he. “How near it may be to mine, I cannot pretend to say. You think it a faithful portrait, undoubtedly.” “I must not decide on my own performance.” He made no answer; and they were again silent till they had gone down the dance, when he asked her if she and her sisters did not very often walk to Meryton. She answered in the affirmative; and, unable to resist the temptation, added, “When you met us there the other day, we had just been forming a new acquaintance.” The effect was immediate. A deeper shade of hauteur overspread his features, but he said not a word; and Elizabeth, though blaming herself for her own weakness, could not go on. At length Darcy spoke, and in a constrained manner said,- “Mr. Wickham is blessed with such happy manners as may insure his making friends; whether he may be equally capable of retaining them, is less certain.” “He has been so unlucky as to lose your friendship,” replied Elizabeth, with emphasis, “and in a manner which he is likely to suffer from all his life.” Darcy made no answer, and seemed desirous of changing the subject. At that moment Sir William Lucas appeared close to them, meaning to pass through the set to the other side of the room; but, on perceiving Mr. Darcy, he stopped, with a bow of superior courtesy, to compliment him on his dancing and his partner. “I have been most highly gratified, indeed, my dear sir; such very superior dancing is not often seen. It is evident that you belong to the first circles. Allow me to say, however, that your fair partner does not disgrace you: and that I must hope to have this pleasure often repeated, especially when a certain desirable event, my dear Miss Eliza (glancing at her sister and Bingley), shall take place. What congratulations will then flow in! I appeal to Mr. Darcy;-but let me not interrupt you, sir. You will not thank me for detaining you from the bewitching converse of that young lady, whose bright eyes are also upbraiding me.” The latter part of this address was scarcely heard by Darcy; but Sir William’s allusion to his friend seemed to strike him forcibly, and his eyes were directed, with a very serious expression, towards Bingley and Jane, who were dancing together. Recovering himself, however, shortly, he turned to his partner, and said,- “Sir William’s interruption has made me forget what we were talking of.” “I do not think we were speaking at all. Sir William could not have interrupted any two people in the room who had less to say for themselves. We have tried two or three subjects already without success, and what we are to talk of next I cannot imagine.” “What think you of books?” said he, smiling. “Books-oh no!-I am sure we never read the same, or not with the same feelings.” “I am sorry you think so; but if that be the case, there can at least be no want of subject. We may compare our different opinions.” “No-I cannot talk of books in a ball-room; my head is always full of something else.” “The present always occupies you in such scenes-does it?” said he, with a look of doubt. “Yes, always,” she replied, without knowing what she said; for her thoughts had wandered far from the subject, as soon afterwards appeared by her suddenly exclaiming, “I remember hearing you once say, Mr. Darcy, that you hardly ever forgave;-that your resentment, once created, was unappeasable. You are very cautious, I suppose, as to its being created?” “I am,” said he, with a firm voice. “And never allow yourself to be blinded by prejudice?” “I hope not.” “It is particularly incumbent on those who never change their opinion, to be secure of judging properly at first.” “May I ask to what these questions tend?” “Merely to the illustration of your character,” said she, endeavouring to shake off her gravity. “I am trying to make it out.” “And what is your success?” She shook her head. “I do not get on at all. I hear such different accounts of you as puzzle me exceedingly.” “I can readily believe,” answered he, gravely, “that reports may vary greatly with respect to me; and I could wish, Miss Bennet, that you were not to sketch my character at the present moment, as there is reason to fear that the performance would reflect no credit on either.” “But if I do not take your likeness now, I may never have another opportunity.” “I would by no means suspend any pleasure of yours,” he coldly replied. *Chapter 18*
Thank you so much for your mini lecture Mrs. Darcy! I have looked up information about this dance before, and did find some, however not as much as you just gave, so you taught me new knowledge today, which I always utterly appreciate. This is lovely❣️🎻💃🏻🕺🏻
@@IndomitableT Thank you! But perhaps I should have made it clear that I was merely copy-pasting what I found in the source links given at the bottom. To be honest, I have no clue about these dances at all! 😉
It's interesting to see these side by side. The Emma version had a slightly faster tempo and the instrumentation sounded a little brighter. The dance movements were very similar but more languid and free in Emma. The P & P version was played in a more stately way, definitely more serious, and the dancer's movements seemed to follow suit. Very fitting given Darcy's mannerism and the conversation between Elizabeth and Darcy.
Well, Sir Lucas tried his best to insert some comic relief for the reader/viewer, but I believe nothing short of a Pig 🐖 escaping from the kitchen and running across the ballroom floor could ease the tension of this iconic scene...😅
If only Colin Firth was younger and started with Keira Knightley. That would be perfect. Matthew Macfadyen too awkward and shy. Colin Firth arrogant, Keira Knightley stunning.
Both Pride & Prejudice (1995) and Emma (1996) had their male and female leads dancing different versions of the same dance - Mr. Beveridge's maggot. Here's some info I found online about this dance.
_Beverdige was a court dancing master whose hey-day was in the 1680's in England and who, along with Issacs, began devising maggots--distinctive longways country dances set to triple-time hornpipes. A maggot was another name for a dram, a diminutive unit of liquid measure, but also meant a trife, whim, a plaything, or a small thing of little consequence, from the Italian "maggioletta". The Maggots began appearing in Henry Playford's Dancing Master ninth edition (1695), and the appendix to that edition, entitled The Second Part of the Dancing Master, contains most of the 24 dances attributed to Beveridge. This melody dates to that time when it was printed by Playford along with directions for a country dance. The tune and dance were retained in the long-running series of Dancing Master editions through the 18th and final edition a 1728, published at the latter time by John Young, Playford's successor. The tune, as "Beveridge's Maggot," was also published by rival London music publisher John Walsh in his Compleat Country Dancing Master (1718, p. 193)._
_Many English Country Dances, like American contra dances, are danced to a pair of phrases of music played AABB -- i.e. the first phrase is played twice, and then the second twice. In contrast, the generally accepted version of Mr. Beveridge's Maggot--a version usually attributed to Pat Shaw--has the structure AAB. This is the version given here. When Cecil Sharp interpreted this dance for modern consumption, he decided he could not get all the instructions to fit into so little music, so he published a dance to fit AABB. Cecil Sharp's version is also widely known, and is given in Palmer's Pocket Playford. This dance was originally printed in Playford's Dancing Master in 1695. Although neither this particular dance nor the duple minor formation it is in were being used in Jane Austen's day, the dance is a very 'cinegenic' dance. I'm not here giving the Cecil Sharp version which has a longer B part dance sequence to fill out a repeated B part (even though the original clearly says play the second strain but once). I'm here giving a closer-to-original Dancing Master (1695-1728) version. This is the sequence they dance in the movie Emma, but in that movie they dance the sequence just once then go into a snowballing cast off. P&P has the same non-Sharp B part as given below and used in Emma (with the dramtaic up and back) but for the A part has everyone r.h. turn, l.h. back, then 1s cross, cast, cross back up. I suspect this change from the original was probably inspired by the need for a more dramatic face-to-face beginning to a dance that was to be the vehicle for a 'battle' between the two protaganists, without giving away altogether a dance which offers the lovely, camera-confronting, film-effective, 4-in-line (with Darcy and Elizabeth 'trapped' side-by-side in the middle) up and back figure._
Source:
tunearch.org/wiki/Annotation:Mr._Beveridge%E2%80%99s_Maggot
janeausten.co.uk/blogs/home-and-hearth/how-to-dance-mr-beveridges-maggot
*EMMA*
They were interrupted by the bustle of Mr. Weston calling on every body to begin dancing again.
“Come Miss Woodhouse, Miss Otway, Miss Fairfax, what are you all doing?-Come Emma, set your companions the example. Every body is lazy! Every body is asleep!”
“I am ready,” said Emma, “whenever I am wanted.”
“Whom are you going to dance with?” asked Mr. Knightley.
She hesitated a moment, and then replied, “With you, if you will ask me.”
“Will you?” said he, offering his hand.
“Indeed I will. You have shewn that you can dance, and you know we are not really so much brother and sister as to make it at all improper.”
“Brother and sister! no, indeed.”
*Vol III, Chapter 2*
*PRIDE & PREJUDICE*
When the dancing recommenced, however, and Darcy approached to claim her hand, Charlotte could not help cautioning her, in a whisper, not to be a simpleton, and allow her fancy for Wickham to make her appear unpleasant in the eyes of a man often times his consequence. Elizabeth made no answer, and took her place in the set, amazed at the dignity to which she was arrived in being allowed to stand opposite to Mr. Darcy, and reading in her neighbours’ looks their equal amazement in beholding it. They stood for some time without speaking a word; and she began to imagine that their silence was to last through the two dances, and, at first, was resolved not to break it; till suddenly fancying that it would be the greater punishment to her partner to oblige him to talk, she made some slight observation on the dance. He replied, and was again silent. After a pause of some minutes, she addressed him a second time, with-
“It is your turn to say something now, Mr. Darcy. I talked about the dance, and you ought to make some kind of remark on the size of the room, or the number of couples.”
He smiled, and assured her that whatever she wished him to say should be said.
“Very well; that reply will do for the present. Perhaps, by-and-by, I may observe that private balls are much pleasanter than public ones; but now we may be silent.”
“Do you talk by rule, then, while you are dancing?”
“Sometimes. One must speak a little, you know. It would look odd to be entirely silent for half an hour together; and yet, for the advantage of some, conversation ought to be so arranged as that they may have the trouble of saying as little as possible.”
“Are you consulting your own feelings in the present case, or do you imagine that you are gratifying mine?”
“Both,” replied Elizabeth archly; “for I have always seen a great similarity in the turn of our minds. We are each of an unsocial, taciturn disposition, unwilling to speak, unless we expect to say something that will amaze the whole room, and be handed down to posterity with all the éclat of a proverb.”
“This is no very striking resemblance of your own character, I am sure,” said he. “How near it may be to mine, I cannot pretend to say. You think it a faithful portrait, undoubtedly.”
“I must not decide on my own performance.”
He made no answer; and they were again silent till they had gone down the dance, when he asked her if she and her sisters did not very often walk to Meryton. She answered in the affirmative; and, unable to resist the temptation, added, “When you met us there the other day, we had just been forming a new acquaintance.”
The effect was immediate. A deeper shade of hauteur overspread his features, but he said not a word; and Elizabeth, though blaming herself for her own weakness, could not go on. At length Darcy spoke, and in a constrained manner said,-
“Mr. Wickham is blessed with such happy manners as may insure his making friends; whether he may be equally capable of retaining them, is less certain.”
“He has been so unlucky as to lose your friendship,” replied Elizabeth, with emphasis, “and in a manner which he is likely to suffer from all his life.”
Darcy made no answer, and seemed desirous of changing the subject. At that moment Sir William Lucas appeared close to them, meaning to pass through the set to the other side of the room; but, on perceiving Mr. Darcy, he stopped, with a bow of superior courtesy, to compliment him on his dancing and his partner.
“I have been most highly gratified, indeed, my dear sir; such very superior dancing is not often seen. It is evident that you belong to the first circles. Allow me to say, however, that your fair partner does not disgrace you: and that I must hope to have this pleasure often repeated, especially when a certain desirable event, my dear Miss Eliza (glancing at her sister and Bingley), shall take place. What congratulations will then flow in! I appeal to Mr. Darcy;-but let me not interrupt you, sir. You will not thank me for detaining you from the bewitching converse of that young lady, whose bright eyes are also upbraiding me.”
The latter part of this address was scarcely heard by Darcy; but Sir William’s allusion to his friend seemed to strike him forcibly, and his eyes were directed, with a very serious expression, towards Bingley and Jane, who were dancing together. Recovering himself, however, shortly, he turned to his partner, and said,-
“Sir William’s interruption has made me forget what we were talking of.”
“I do not think we were speaking at all. Sir William could not have interrupted any two people in the room who had less to say for themselves. We have tried two or three subjects already without success, and what we are to talk of next I cannot imagine.”
“What think you of books?” said he, smiling.
“Books-oh no!-I am sure we never read the same, or not with the same feelings.”
“I am sorry you think so; but if that be the case, there can at least be no want of subject. We may compare our different opinions.”
“No-I cannot talk of books in a ball-room; my head is always full of something else.”
“The present always occupies you in such scenes-does it?” said he, with a look of doubt.
“Yes, always,” she replied, without knowing what she said; for her thoughts had wandered far from the subject, as soon afterwards appeared by her suddenly exclaiming, “I remember hearing you once say, Mr. Darcy, that you hardly ever forgave;-that your resentment, once created, was unappeasable. You are very cautious, I suppose, as to its being created?”
“I am,” said he, with a firm voice.
“And never allow yourself to be blinded by prejudice?”
“I hope not.”
“It is particularly incumbent on those who never change their opinion, to be secure of judging properly at first.”
“May I ask to what these questions tend?”
“Merely to the illustration of your character,” said she, endeavouring to shake off her gravity. “I am trying to make it out.”
“And what is your success?”
She shook her head. “I do not get on at all. I hear such different accounts of you as puzzle me exceedingly.”
“I can readily believe,” answered he, gravely, “that reports may vary greatly with respect to me; and I could wish, Miss Bennet, that you were not to sketch my character at the present moment, as there is reason to fear that the performance would reflect no credit on either.”
“But if I do not take your likeness now, I may never have another opportunity.”
“I would by no means suspend any pleasure of yours,” he coldly replied.
*Chapter 18*
Thank you so much for your mini lecture Mrs. Darcy! I have looked up information about this dance before, and did find some, however not as much as you just gave, so you taught me new knowledge today, which I always utterly appreciate. This is lovely❣️🎻💃🏻🕺🏻
@@IndomitableT Thank you! But perhaps I should have made it clear that I was merely copy-pasting what I found in the source links given at the bottom. To be honest, I have no clue about these dances at all! 😉
The 1995 version with the creaking floor and background noise is perfect.
E’ sempre bello rivedere questi episodi !! Thank you!! 👏🏻👏🏻❤️🇮🇹❤️
It's interesting to see these side by side. The Emma version had a slightly faster tempo and the instrumentation sounded a little brighter. The dance movements were very similar but more languid and free in Emma. The P & P version was played in a more stately way, definitely more serious, and the dancer's movements seemed to follow suit. Very fitting given Darcy's mannerism and the conversation between Elizabeth and Darcy.
Well, Sir Lucas tried his best to insert some comic relief for the reader/viewer, but I believe nothing short of a Pig 🐖 escaping from the kitchen and running across the ballroom floor could ease the tension of this iconic scene...😅
Sir William. "Sir" is never attached to a surname, but rather, the first name.
❤❤❤❤❤
Kate Beckinsale 'Emma' has bit of this dance as well 😊
If only Colin Firth was younger and started with Keira Knightley.
That would be perfect.
Matthew Macfadyen too awkward and shy.
Colin Firth arrogant, Keira Knightley stunning.