Kovács Ferenc et al.: Fardagály és kámvás rokolya. Divat és illem a 19. században (Budapest, 2010)
Egy kis 19. századi illemtan
Л Little 19TM Century Etiquette dett négyüléses lovaskocsi], hogy szállítsa őket. A báli ruhákban nem lehetett volna gyalog menni, sőt fiákerrel sem, mert összegyűrődtek volna a bodroklodrok, uszályok A bejáratnál a jobb vállukon átvetett színes szalaggal ékes bálrendezők a hölgyek kezébe adták a táncrendet: egy apró ftizetkét, benne a táncok sorrendjével és egy pici irónnal, amellyel föl lehetett jegyezni, melyiket kinek ígérték (A bálok szervezői egymással versengve akartak minél különlegesebb és díszesebb táncrendeket adni a lányoknak, így ezeknek igen változatos és színes kavalkádja maradt ránk.) A rendezők az előcsarnokból karonfogva kísérték fel a hölgyeket a táncterembe, és már kezdődött is a bemutatkozás és a táncok lefoglalása. A bál tíz órakor nyílt meg. A gavalléroknak a terem szélén kellett megvárniuk, hogy az ő „túrjuk” [fordulójuk] következzék. Kétszer lelkérni nem illett a kis-Táncrend, 1876 Dance Card, 1876 the polka and the quadrille. The first was referred to as the “dance of courtesy”, the second was danced “for their beloved”, and the third was “dictated by whims of fancy”, while the fourth was “enjoyed tik the light of dawn". A ball was thought successful if the quadrille was danced by at least 200 people, a new record being set at the Engineers’ Ball of 1893, where 376 couples took part in the dance. During the interval ball gowns could be repaired, sweaty collars could be replaced, and there was even an opportunity for a second supper. A guest from Japan once made an interesting observation about the young ladies he saw dancing: “Although on other occasions, as I 've heard, it is most improper for a stranger to even touch their hand: on this occasion they are happy to throw themselves into the arms of any stranger." He also made the following statement about the czardas, danced in Hungarian fashion: “If l were not from Japan, I would rather be a Hungarian and dance the czardas, than a German and dizzy myself waltzing." Both gentlemen and ladies had to dress extremely elegantly for the ball. From 1869 it was compulsory for men to wear a dress-suit, or Hungarian formal attire. With the tailcoat they wore a white tie, light patent-leather shoes (escarpins), gloves, a waistcoat and from the 1880s a compressible top hat. Gentlemen trying to get away with wearing a frock coat were soon asked to leave, as were ladies with a décolletage that was deemed too low. And even if the neckline wasn’t too low, memorable accidents did sometimes occur, such as the incident when ayoung debutante bowed low in front of Franz Joseph, as custom required, but oh dear: her corset gave her compressed breasts no other route, but to escape in an upwards direction. (The monarch, it is said, didn't bat an eyelid.) The January 17, 1869 issue of the satirical paper Borsszem Jankó (Johnny Peppercorn) included a “Dictionary for the Ball Season”, with the following interesting definitions: A Ball: “Intimate rendezvous with a group of strangers”; An Embrace: “a sin which when dancing becomes an obligation ”; The Czardas: “a dance which begins with slow floor-mopping in Pest-Buda and ends in crazed grape trampling”. The waltz also receives a dig in the ribs, being defined as the “circling sickness” of sheep when caught by people. The trail is made fim of through some amiable conversation: “- Do you know that beautifully pretty woman? - Oh yes, in fact I’ve already spoken to her. - That’s impossible, wherever could you have done that? - Well, I stepped on her trail a little earlier and told her: Excuse me.” Dancing wasn't only enjoyed by the younger generation at balls, but also at dancing schools. These provided an opportunity with those from less illustrious families to participate in social functions. 103
