Lippincott's Magazine of Popular Literature and Science, Volume 15, No. 90, June, 1875. Various

make excellent music—far better than that we commonly hear at home in theatres and at dancing-assemblies. Blouses are abundant on the floor, in spite of the fact that the ball is advertised to be "dress, mask, disguise." Near us is a dusty blousard in huge wooden shoes, who dances no less vigorously with his head and arms than with his legs; and how earnestly he does bend to his work! He is one incessant teeter. While the music sounds he never flags. He spins, he whirls, he balances: he stands upon the toes of his wooden sabots and pirouettes with clumsy ease, like one on stilts. He claps his hands smartly together, flings them wildly above his head, and pounds away with his feet as if it were his firm intention to go through into the cellar. But, though our attention is centred on him, he is by no means alone or peculiar. Around and around whirl others and others, under the gleaming chandeliers, in the clouds of tobacco smoke, dancing as vigorously, flinging their hands above their heads as wildly, as he. Here and there handsome costumes are seen, but the majority are in Cardigan jackets or blouses: many are in their shirt-sleeves. All wear their hats and caps. Women in male attire and men in women's frocks and ribbons are a favorite form of disguise: occasionally there is one of an elaborately grotesque character. The spectators, sitting at the tables or strolling down the narrow aisles, look on with applause and laughter at the boisterous scene. Occasionally one jumps upon a table and flings up his arms with a hilarious yell, but he is promptly tumbled down again. When the quadrille is over many of the dancers go on jumping and skipping, loath to have done; but the floor is promptly cleared by two men in authority, the proprietors of the place, for there is rigid discipline here.

      In the interval, while the music is silent, three or four policemen armed to the teeth, with swords at their sides and glittering uniforms, saunter in an idle, unconcerned manner up and down the cleared floor, with the air of men who have no earthly use for their time, and are walking thus merely to stretch their legs a bit. But they are keenly on the alert, these gendarmes. They cast their eyes on us where we sit with a sidelong glance which seems to say, "We see you, you two men in tall hats," for we presently find we are conspicuous in this crowd by the hats we wear. A ragamuffin Pierrot in a white nightcap is seen to touch a trousered female on the arm and look leeringly at us, and is overheard to say, "Vois donc, Delphine, those aristos there—have they hats?—quoi?" Whereupon I nod good-naturedly to them, and Delphine comes up to us with a smile. "One sees easily thou art not Parisian, little father (p'tit père)" she says to me. "Rest tranquil, then—thou shalt see dancing—rest tranquil." And with a flirt of her heel she bounds into the middle of the floor with her cavalier as the orchestra sounds the preliminary strain of a waltz.

      It is the custom here for the orchestra to sound this preliminary note as a foretaste to the dancers of the coming piece. Then the musicians rest on their instruments while the two men in authority on the floor set up a stentorian call of "Advance, mesdames and messieurs: one is about to begin the waltz," or the polka, as the name of the coming dance may be. At this cry, through the little gates which open here and there in the wooden railing a crowd of eager clients pour upon the floor and range themselves in place. The men in authority coolly proceed to collect a tax of two sous from each couple, and then the music and the dance begin. In waltzing the dancers simply put their arms around each other's necks, and thus embracing vigorously, face to face, they spin about the room, bumping against each other, laughing, shouting and chaffing. Waiters in white aprons dodge about among the dancers, taking orders for wine, beer and punch, and exciting our constant amazement that they do not get knocked down and trampled on. One of them approaches us and asks what we will take. Observe, he does not ask if we will take anything, for if you sit you must "consume" either drink or cigars. Your five cents paid at the door, you perceive, entitle you to neither a seat nor a dance. The constant drinking which goes on is the heaviest source of income of the establishment, after all. Yet nobody is drunk. In New York a like amount of guzzling would have put half the men under the table by this time. It is a popular notion that Frenchmen never get drunk, but this exaggerates the truth. One sees almost as much drunkenness among the lower classes in Paris as in New York, but the amount of drunkenness is so trifling in proportion to the enormous amount of tippling that goes on among Frenchmen that the matter is a cause of constant wonderment to visitors from other lands.

      At the end of the waltz the floor is promptly cleared again. One woman puts her hand on the rail-fence and leaps over unconcernedly, rather than take her turn at the gate. Then the band strikes up the opening strain of the popular opera-bouffe quadrille of the hour, and the air echoes with the shout on every side, "C'est Angot! C'est Angot!" and the struggle for places is furious. "Madame Angot," the heroine of a fashionable opera-bouffe, is a market-woman, and a sort of goddess among the blousards, who are eager to dance to the inspiring melody of her song. The men in authority have little need to persuade the dancers with their cry of "Avancez! avancez!" this time: they have only to collect the sous, and the wild revelry begins. The tallest man in the room leads on to the floor the shortest woman—a little humpbacked dwarf: he is smoking a cigar, and she a cigarette, and they dance with fury while puffing clouds of smoke. The man jumps in the air with wondrous pigeon-wings, slaps his heels with his hands, shouts and twists his lank body into grotesque shapes. The little dwarf, madly hilarious, rushes about with her head down, swings her long dress in the air, whirls and "makes cheeses," and in the climax of her efforts kicks her partner squarely in the back amid roars of laughter.