The RSCDS attributes this to Mitchell's A Guide to Ball Room Dancing, a work I haven't found yet. The earliest I have found are the following:

D. Anderson's Ball-Room and Solo Dance Guide, he writes:

First and second ladies join hands, at same time first and second gents. join hands.

Then advance and retire, and cross over to each other's places, ladies passing under the gent.'s arms.

Advance and retire, then cross to places, ladies passing under gent.'s arms.

Top couple down centre and back.

First and second couples pousette.

Repeat.

Courtesy of National Library of Scotland, licensed under:

Also in Skinner writes:

Arrange the dancers as usual.

First and second ladies join hands, advance and retire with Quadrille step.

First and second gentlemen do the same at the same time. They re-advance, the ladies passing under the gentlemen's arms.

This is repeated, the gentlemen going under the ladies' arms

First lady and opposite gentleman then go dow the centre, back, and pousette.

Repeat.

Rory o' More has a tune of its own bearing the same name.

A quite different dance with this name appeared in the US in 1858 (Elias Howe, Boston). It seems likely to me that a dance appeared before 1897 in Scotland, but I haven't found any earlier sources.

Kate Hughes's manuscript, Dancing Book, Ireland, 1867, contains yet another version of the figure.

Common name for dances; Wright, Walsh, Straight, Campbell, Howe and Wilcock all have figures for it, but I have found none which seems to match this one.

Lowe writes:

First couple turn round to the right, and set opposite to each other in the middle of the Dance (4 Bars) Again round to the right, the Lady going between the second and third Gentlemen, and the Gentlemen between the second and third Ladies (4 Bars) Six hands round and back again (8 Bars) The Lady between the two Gentlemen, and the Gentleman between the two Ladies, advance and retire. (4 Bars) The Gentleman who commenced the Dance, then turns his partner to her own side. (2 Bars) And all clap their hands, counting 1, 2, 3, 1, 2, 3 (2 Bars) Then the three Ladies on their own side, and the three Gentlemen on theirs go three hands round. (4 Bars) Then commence the Figure again.

Courtesy of National Library of Scotland, licensed under:

The couples stand in fours across the room, all facing the top, except the first two couples, who face down. Women on the right of their partners (See Fig.)

MUSIC	DESCRIPTION
Bars.
1-4	Couples 1 and 4 dance four hands across with right hands.
5-8	And back again with left hands.
9-12	Couples 2 and 3 dance four hands across with right hands.
13-16	And back again with left hands.
17-24	All four couples set twice and turn partners with both hands.
25-28	All four couples, partners facing each other and joining both hands, slip across to one another's places, men passing back to back.
29-32	Slip across back to places, women passing back to back.
33-36	{ First and third couples dance four hands round to the left. Second and fourth couples dance four hands round to the left.
37-40	The same couples giving left hands, dance four hands across back to places.
41-43	All four couples advance (two steps) and retire (one step).
44	Give three claps with the hands.
45-48	Couples 1 and 2 dancing down the dance, pass under the arms of couples 3 and 4, who are dancing up.
	Repeat, with next two couples, and do the same figures with every line until they arrive at the bottom of the dance. As each line reaches top or bottom of the set, change to correct side of partners and stand during one turn of the dance.
	NOTE.— This dance can also be done in groups of four in a circle in which case bars 9-16 are omitted.

Collected locally.

(I believe this to be the original text as printed in 1925, subsequent revisions of the book use different words but describe the same figure.)

If you look at the Scottish Country Dance Database and Dictionary they both claim the four face four version of the dance should be done round the room as well, but the book shows a longways dance with four lines of two couples each, not a round the room dance. In his The Modern Dancing Master, Chivers, London, 1822 describes dancing four face four dances round the room. He calls this a Chivonian Circle.

The (R)SCDS did not say how many times the dance should be repeated. For a four line dance the traditional number would be nine repetitions leaving everyone where they started, but the SCDS is more likely to follow their own methods and only repeat the dance 8 times (leaving the bottom two lines in the wrong places).

In it's 2008 revision of Book 2, the RSCDS attributes this dance to Lowe's Selection of Popular Country Dances, ~1850. Lowe actually publishes two different figures, one which he teaches and which he claims to be the original version, and one which everyone else in Edinburgh dances. Lowe's "Original" version is unlike any other version I've found (nobody else has the dancers clapping, ever), while the other version seems more like the other contemporary versions I've found. The (R)SCDS chose Lowe's "Original" as the basis for their dance.

Lowe writes:

ANY number of couples can join in this Dance, arranging themselves four and four across the room, and all facing the top except the first couple, who face the other way, the Ladies standing on the right of their partners, thus-

1st Couple,	L. G. L. G. 0 + 0 +
2nd Couple,	G. L. G. L. + 0 + 0
3rd Couple,	G. L. G. L. + 0 + 0

Each line as they arrive at the top, face about to be ready to commence.

---

Original Figure, as danced by Mr. Lowe's Pupils.

The couples on the right of each line, at angular corners, do hands across and back again to places (8 bar); the couples on the left of each line do the same (8 bars); all eight set and turn partners (8 bars); all eight gallopade across each other, the couples on the right of each line passing in front (4 bars) back again, the other couple passing in front (4 bars). The couples opposite to each other go hands four round (4 bars), all giving left hands, do hands across back again (4 bars); all eight advance and retire, and give three claps with the hands (4 bars); then the couples dancing down the dance pass under the arms of those dancing up (4 bars); then commence the figure with the next couples; then do the same figure with every line till they arrive at the end of the dance, then face about and dance up again.

Courtesy of National Library of Scotland, licensed under:

I think Lowe wants the top couples to pass under the arches made by the bottom as couples, rather than passing by the right, as is the modern method. Lowe also has people do a couples mad robin along their own line, rather than a couples do-si-do with the people opposite.

Joseph Lowe did not suggest dancing it as a round the room dance. The earliest source I have for that is in Albert W. Newman's A Complete Practical Guide to Modern Society Dancing, Philadelphia, 1903 who wrote:

NOTE. — This waiting, however, can be avoided by placing the couples in a complete circle. It is then advisable to arrange but two couples in each set facing each other.

`,

He, like the (R)SCDS, only recommends the round the room format when the set is a standard improper duple minor rather than a four face four.

Despite the RSCDS's claims, this dance, and the idea of dancing in a four face four (Mescolanze) formation, predate Mr. Lowe.

The earliest version I have found was published by Kattfuß in Germany in 1802.

According to The Regency Dance site Joseph Binns Hart published "Hart's 2nd Set of Quadrilles" sometime between 1818 and 1820. In this work he has a dance called Hart's Tempete Dance which was a dance with two couples facing two other couples (a rare formation for cotillions, but not unknown), however unlike cotilions (or quadrilles) Hart's dance progresses.

In his Hart's Second Set of Quadrilles, Hart writes:

Form a line of 4, the 2 Ladies on the 2 Gentlemens right, 4 more opposite to the first 4, form lines of 4 behind the 2^d. line as many as intend to dance.

---

FIGURE

The first 2 lines right and left, chassez across to the right and left with your partner, dechassez, in returning you go behind the 2^d. Couple The Center 4 hands round, the outside couple's turn and back all 8 Set quite round to the right re set to your places, the top four lead through the 2^d. line and begin the same figure with the 3^d. line & so on to the bottom of the dance.

Then in ~1825 GMS Chivers published a dance called La Tempête in his "Dancing Master in Miniature".

The Contrafusion site says the dance was originally European and dates it back to 1802.

In the US, the earliest source I can lay my hands on is from New York in the US in 1851, which was a mescolanze (but not a round the room dance) Mr. Whale & Daughter published La Tempète, as danced at the Queen's Last Ball

This popular Dance is danced by any number of double couples standing as above at commencement. All begin together, — Advance and retire twice, — Partners together gallop across eight steps each way, — Advance and retire twice, — Hand four round in the centre, (as above) Sides the same turning with both hands, — Hands across, (as above) Sides the same, — Advance and retire once, — Go forward to dance with next vis a vis.

Also in 1851, also in New York, Burnton published The Original Tampete

This popular dance is dance by any number of double couples, standing as above at commencement, all begin at once.

1. All forward and back, (4 bars) half right and left, (4 bars) forward and back, (4 bars) half right and left to place (4 bars)
2. Couples Galop eight steps to the left, (4 bars) then eight steps to the right, (4 bars)
3. Small stars (Each double couple form a star, Ladies cross hands, Gents also, round eight steps to the left (4 bars) change eight steps to the right (4 bars)
4. Grand star (Four couples. Ladies take Gents arms & cross hands in centre, eight steps round to the left, (4 bars) change Gentlemen swing in centre and cross hands, Ladies remain on Gents arms outside. eight steps round to the right. (4 bars)
5. Circles (Each double couple form a circle, hands round, eight steps to the left, (4 bars) eight steps to the right (4 bars)

All advance first couple holding hands up, others passing quick through and advance to the new couples. This forms the first figure again, and must therefore be no time lost, when passing through to the next.

These are the original and true figures, as danced in Europe

I have a page devoted to a more complete history of this dance.

The RSCDS attributes this to Mozart Allan's Allan's Reference Guide to the Ball-Room, Glasgow, ~1895, and a dance with this name and figure is in that work, but it occurred elsewhere earlier.

Published by Goulding & D'Almaine in 1827 as Blue Bonnets are over the Border. I do not have access to the original text. but Robert Keller gives the figures as:
Change sides
Change sides (again)
Lead down and back
Poussette

Smyth, in 1830, page 31, calls it Blue Bonnets Over the Border and writes:

First Lady and second Genlemen advance and retire, and pass back to back, the first Gentleman and second Lady the same Down the middle and up again, and poussette.

So where is the progression in this dance? Either in the poussette or in "down the middle and up again". If you look at Mrs McLeod (page 33) you will see that, for Smyth, "down the middle and up again" is progressive.

Smyth (an Edinburgh dancing teacher) classifies this as a "Scotch Country Dance".

The tune was composed around 1820 by Sir Henry Rowley Bishop.

The RSCDS has trios alternately of 1 man and two women facing 1 woman and two men.

This is (intended to be) the official RSCDS version, according to The SCD Dictionary at Ceilidhs it is danced slightly differently, with right hand turns instead of two hand turns, a right shoulder reel (or chain) rather than a left, and in the final pass through the 2s make arches while the 1s dive through.

Note: J.P. Boulogne published a very different dance (standard duple minor formation) in 1827 in his book The Ballroom.

Note: this is completely different from the traditional contra dance with the same name.

The RSCDS attributes this dance to Neil Stewart's A Collection of the Newest and best Reels or Country Dances, c. 1761-1763. The only work with this name and author at the National Library of Scotland was published ~1775 and contains only tunes with no figures. The RSCDS goes on to say that the tune comes from Caledonian Country Dances ~1754 (which Book 10 says was published by Johnson). This work seems to have disappeared. In any case, the tune was published earlier, by Rutherford (in Rutherford's Choice Collection of Sixty of the most Celebrated Country Dances, 1750) and Johnson (in A Choice Collection of 200 Favourite Country Dances, Vol. 8, 1753). (Neither of those dances matches this figure).

Walsh, 1748, 1760 and Rutherford, 1758 published a dance with this name (well, they called it Hay Jenny come down to Jock) but their figure does not match this one.

The RSCDS credits this to Allan, ~1880. My version of Allan's work dates from ~1900 and says:

1. First and second couples advance and retire, four hands half round.
2. The first gentleman turns the second lady fully round by the right hand.
3. The first lady does the same with the second gentleman.
4. Pousette.

Courtesy of National Library of Scotland, licensed under:

The RSCDS claims this is "from the Border Country".

The Lowes write:

The first Lady crosses over, and sets between the second and third Gentlemen; the first Gentleman the same, and sets between the second and third Ladies; the six in hand advance and retire, and hands three round on the sides; pousette by the first and second couples.

The RSCDS attributes this to "Caledonian Country Dances, c. 1754". Both Johnson and Walsh published books with "Caledonian" in the title in the 1750s, but none of those books has a dance with a name like "Duke of Hamilton's Reel". There may, of course, be other publishers or publications of which I'm not aware.

Note: RSCDS Book 10, for the dance The Lady's Breist Knot has a more nearly complete attribution: "Jno Johnson Caledonian Country Dances Vol. II, c. 1754" but I still can't find it.

Note: RSCDS Book 28, for the dance Not I contains the comment "The source given is Caledonian Country Dances, 1754 but attempts to trace this manuscript have been unsuccessful.

Rutherford (1750 & 1759), Bride (1770), and Longman & Broderip (1781) all published dances with this name, but none matches the RSCDS figure.

Allan's Reference Guide to the Ball-Room, says:

The couples stand in a circle round the room, facing each other.

1. All advance and retire twice.
2. Clap the hands three times, and beat on the heel of the foot three times.
3. All pass to next couple, the gentlemen passing on the outside of the ladies.

No. 3 may also be done by swinging their partners round and passing to next couple

Courtesy of National Library of Scotland, licensed under:

Allan's Reference Guide to the Ball-Room, says:

The couples stand in a circle round the room, facing each other.

1. All advance and retire twice.
2. Clap the hands three times, and beat on the heel of the foot three times.
3. All pass to next couple, the gentlemen passing on the outside of the ladies.

No. 3 may also be done by swinging their partners round and passing to next couple

Courtesy of National Library of Scotland, licensed under:

RSCDS Book 8 says this was "collected in Galloway."

RSCDS Book 12 attributes this to Johnson's Caledonian Country Dances of 1748 but it appears earlier.

According to Robert Keller's site in Walsh's Caledonian Country Dances, 2d Edition he published a dance called The Reel of Glames with essentially this figure. Then in his The Second Book of the Compleat Country Dancing-Master, The 3d. Edition, ~1736, he published a dance called The Cleaver Lad, or The Gin I was a Bonny Lad with the same figure.

In Wright's Compleat Collection of Celebrated Country-Dances, Vol. 1 he published a dance called The Reel of Glamis with the same figure. And this one I can find online.

Later Johnson published the same figure and called the dance The Reel of Glamis.

Wright writes:

Each Strain twice

The 1st Man turns the 2^d Wo. and fall back and turn S. the 1st Wo. sett to the 2^d Man, and fall back and turn S. the 1st Man change places with the 2^d Wo. then the 1st Wo. change places with the 2^d Man, then all four meet and turn S. then the 1st Cu. being in the 2^d Cu. place, lead thro' and cast off

The music consists of 2 four bar strains, both repeated. Given that they need to be played at four counts per bar to fill out the figure.

There is one big problem with this description of the figure: both the 1s and the 2s end the corner changes progressed by improper, and there is nothing in the description to get them proper. But the description doesn't quite fill up the music, and there is easily room to throw in hole in the wall cross with partner.

RSCDS Book 13 says "collected in the Borders.

The RSCDS attributes this to Bremner's work: A Second Collection of Scots Reels or Country Dances, which they date variously to ~1757 and ~1765. In ~1765 Bremner published A Collection of Scots Reels or Country Dances; a work which only contains tunes with no figures. According to Hugh Thurston the second collection was published in London in 1769. As far as I can tell, what was published in London was actually titled: For the Year 1769. A Collection of Scots Reels or Country Dances. At any rate, that work contains this dance.

Cast off two couples lead up to the Top and cast off set cross corners swing corners and swing your partner and lead outsides

RSCDS Book 13 says "collected in Fife.

Goulding published a dance of this name in his Twenty-four Country Dances for the Year 1812, but the figure is different and the music is shorter.

In about 1831, the Lowes wrote:

The first Lady turns off, and goes half round two couples; at the same time her partner follows her, and (bringing her back by the promenade) turns her into her place; she then goes down the middle, her partner following her, and bringing her back by the promenade; they join hands four round with the second couple, and advance and retire; then cross hands fully round, and turn partners half round by the right hand; they join hands round again, and advance and retire, then pousette.

The Lowes call this an "Irish Country Dance".

RSCDS Book 13 says "collected in Angus.

The earliest source I can find for this was published in London, in 1844. The next two sources I have were both published in 1848. One in the US, and the other in the UK.

John Johnson published a dance with this name in 1744, David Rutherford published one in 1756 but they both have a different formation and figure.

In his The Ball-Room Polka, Polka Cotillon, and Valse à Deux Tems. (London, 1844), page 63, Eugene Coulon writes:

What is called the HIGHLAND REEL is danced to a three-part tune. Those taking part in it are arranged in parties of three, down the room as follows :— A lady between two gentlemen facing the three opposite, all advance and retire; each lady then performs the reel with the gentleman on her right, and the opposite gentlemen to places; hands three round and back again; all six advance and retire; then lead through to the next three, and continue the figure to the bottom or the room. It is generally danced with the Highland step.

In his The Ball-Room Companion, A Hand-Book For The Ball-Room And Evening Parties (New York, 1848), page 61, George Appleton writes:

What is called the HIGHLAND REEL is danced to a three-part tune. Those taking part in it are arranged in parties of three, down the room, as follows:— A lady between two gentlemen facing the three opposite, all advance and retire; each lady then performs the reel with the gentleman on her right, and the opposite gentlemen to places; hands three round and back again; all six advance and retire; then lead through to the next three, and continue the figure to the bottom of the room. It is generally danced with the Highland step.

This is exactly the same as the RSCDS version (except that the RSCDS has men in the middle, and women on the outside, and is a round the room dance.

In London, at the same time, Charles Mitchell published A Guide to the Ball-Room & Illustrated Polka Lesson Book:

(As danced at Blair Athol.)

Usually danced by two couples; but being a favourite, the admission of many is not unusual. The company form parties of three along the room; the lady's position being between two gentlemen, and fronting the opposite three: all then advance and retire, each lady performing the reel with her right-hand partner and the opposite gentleman to places: hands three round, and back again: all six advance and retire; after which lead through to the next three, continuing the figure to the end of the room.

Adopt the Highland step, and music, of three parts tune.

The wording is almost the same on both sides of the Atlantic

In London, ~1857, in Milner and Sowerby's Etiquette for Ladies and Gentlemen, they write:

This is a favourite dance, and is easily learned. It is performed by the company arranged in parties of three, all down the room, in the following manner: a lady between two gentlemen facing the opposite three; they all advance and retire, each lady then performs the reel with the gentleman on her right hand, and the opposite gentleman, to places; hands three round and back again; all six advance and retire; then lead through to the next trio and continue the figure to the bottom of the room, as in the Spanish Dance.

And his note at the end of The Spanish Dance reads:

The dance is executed either in a line or in a circle; and sixteen or twenty couples may engage in it.

In his Complete Ball-room Hand Book (Boston, 1858), page 88 Howe writes:

Form: a lady between two gentlemen facing three opposite; the same up and down the room. All forward and back, each lady executing the reel with her right hand partner, and then with her left hand partner to place — three hands round, and back again — all forward and back, all forward again and pass to the next couple, (as in the Haymakers.)

Basically the same as Appleton except that the reels are with the people in the trio instead of with the left hand person in the opposite trio.

In his Squire's Practical Prompter: or, Ball Room Call Book (Cincinnati, 1887), page 75, A. Squire writes:

Form: a lady between two gentlemen facing three opposite; the same up and down the room. All forward and back, each lady executing the reel with her right-hand partner, and then with her left-hand partner to place; three hands around and back again; all forward and back, forward again and pass through opposite and face next three.

Which is basically a repeat of what Howe wrote.

In his The Excelsior Manual of Dancing, Glasgow, ~1872, J. F. Wallace writes:

This dance is arranged in three's, a lady between two gentlemen, facing the opposite three. As many as the room will accomodate may thus be arranged.

1. They all advance and retire twice (8 bars)
2. Each lady then performs the Reel with the gentleman on her right hand, and the opposite gentleman to places, (8 bars)
3. Three hands round and back, (8 bars)
4. Six advance and retire, then lead through to the next three, (8 bars)

Continue until the bottom is reached

The RSCDS attributes this to Bremner's work: A Second Collection of Scots Reels or Country Dances, which they date variously to ~1757 and ~1765. In ~1765 Bremner published A Collection of Scots Reels or Country Dances; a work which only contains tunes with no figures. According to Hugh Thurston the second collection was published in London in 1769. As far as I can tell, what was published in London was actually titled: For the Year 1769. A Collection of Scots Reels or Country Dances. At any rate, that work contains this dance.

Robert Keller Bremner titled this dance Straglass House - Strathspey.

Robert Bremner writes:

The 1^st, 2^d, and 3^d Cu: foot it and hands round Six the same back again cross over two Cu: lead up to the Top and cast off Turn corners with your right hands ℵ turn partner with your Left the other corners the same lead outsides and turn

The RSCDS claims this comes from A Collection of Scots Reels or Country Dances and it may be in that, but I know it is in For the Year 1769. A Collection of Scots Reels or Country Dances (both by Bremner).

Johnson published this in his 5th volume of Country Dances (1750), and Rutherford published essentially the same figure in 1759. Both Johnson and Rutherford spell this dance as "Willie with his tartan Trues". The RSCDS credits this dance to Rutherford

Hey Contrary sides Hey on your Own sides Cross over two Couple Lead up to Top, foot it And Cast off Foot it Corners & turn Foot it the Other Corners & turn Lead out Each side & turn your Partner

From the Holmain MS (dated sometime between 1710 and 1750):

First sett to your partner, & cast off one pair, sett again, & she turns up & he turns down betwixt the third pair, she betwixt the 2d pair, then leads up joining three hands & meets, then 3 hands round, & reels, then he setts to the 2d woman she to the 1st man & turns them, then he setts to the 1st woman, she to the 2d man, & turn your partner, then 4 hands round with the 1st pair, & cast off, then meet and turn your partner.

Originally spelled "Argiles Bouling Green".

Rutherford writes:

First Man cast off and turn the 3^d. Wo: First Woman cast off and turn the 3^d. Man Hands round 6 that back again foot it corners and turn Lead out sides and turn

The big problem I have with interpreting this dance is what to make of the strain markers ( , , and . Given the variety of the markers I would expect the tune to have three strains, each to be played twice. But Rutherford prints a rather standard jig with an A and B strain both repeated. Is one of the strains to be repeated four times? AAAABB? but if so why not use , and for the third and fourth markers? I suppose AABBAA could be intended but that doesn't seem likely to me either.

AAABBB really doesn't match the markers.

The RSCDS interpretation suggests that first four marks should each represent half a strain, and in other dances Rutherford seems to take a relaxed approach to what the marks mean. And it does seem likely this is a normal 32 bar jig given how the music is printed.

John Young (Playford) published a dance called 'Twas Within a Furlong of Edinborough Town in 1696, but its figure does not match this one.

Cahusac published Within a Mile of Edenburgh in 1795 with a figure which does match.

The RSCDS attributes this to Skillern (with the SCDDB giving a date of 1795). I am aware of two dance books published by Skillern in 1795 (For the Year 1795 Twelve Country Dances & Cotillions, and Twenty Four Country Dances for the Year 1795) and neither contains a dance with a name like this one. Nor can I find any dances with a name like this in any of the other works by Skillern of which I'm aware. The RSCDS may know of other works, or they may have changed the name beyond my ability to guess.

Book 24 has the comment: "Collected by Miss Jenny MacLaghlan."

Howe in Howe's Drawing-Room Dances (Boston, 1859) published a dance similar to this. It is not a round the room, but it does begin with the 1s improper, starts with balances and turns and includes a ladies chain. Probably not a source for this dance, but likely something derived from the same root.

Book 24 has the comment: "Collected by Miss Jenny MacLaghlan."

Book 24 has the comment: "Collected by Miss Jenny MacLaghlan."

Robert Bremner writes:

The first and 2^d. Cu: foot it and right and left half round the same back again lead down two Cu. up again ℵ cast off set corners lead outsides and turn

The Scottish Country Dance Dictionary attributes this to "Dorothy Arton".

The Scottish Country Dance Dictionary attributes this to "D Gracie".

RSCDS Book 26 says "collected from Mr. W Brown, Airdrie, Lanarkshire."

In his 9th book (~1794) William Campbell published a dance called Lord Elgin's Strathspey, but its figure does not match this one. (Bartholomew Cooke republished that figure in 1797)

RSCDS Book 26 says "the source previously given for this dance is The Collection of Robert Owen but we have not been able to verify this."

D. Anderson's Ball-Room and Solo Dance Guide, he writes:

Time 6-8.

Top gent. down the centre and back with second lady, leave her at right of parner and join own partner, having her on right.

Top two couples advance and retire.

Re-advance, and turn opposite partners to right hand.

Advance and retire.

Re-advance, and turn own partners.

Two top couples pousette.

Repeat Figure to bottom.

Courtesy of National Library of Scotland, licensed under:

On page 117 Anderson claims to be the devisor of this dance.

Note: Each Strain is to be play'd twice over.

The first Couple cast off and fall in between the second and third Woman and Man, and lead backward and forward Then first Woman cast off and fall in between the third Man and third Woman, the Man cast up and fall in between the second Man and second Women at the same Time; then lead backward and forward The first Man and first Woman meet and fall back, the Man cast off round the second Woman, and the second Woman cast up round the third Man, then Righ and Lift quite round Back to Back with your own, then Back with the second Couple, then the Man lead his Partner up round the second Woman into their proper Places, Sett and cast off

The Tweed is a river on the border between Scotland and England, flowing into the North Sea.

The original is a 24 bar dance with 3 counts per bar; it has been adapted to a 48 bar jig.

Playford published a dance called "The Happy Meeting" in 1696 (and Walsh republished it later). Playford's dance begins with the 1s doing a normal figure eight, and then the 2s doing one, rather than having 1st corners figure eight, followed by second corners. That may be an early form of this dance, but it clearly has evolved a lot since then.

Playford writes:

The 1 cu. go the Figure thro' the 2. cu. and then cross over above into the 2. cu. Place, the other couple do the like. This to the first Strain play'd twice Both cu. clap Hands with their Partners, the 1. cu. cast off, then Right and Left with your Partners quite round; the 2. cu. being in the 1. cu. Place, clap Hands and cast off, then Right and Left as before.

The music is in 3/2 time and there are two 8 bar strains.

The RSCDS attributes this dance to the New Enlarged and Complete Ball-Room Guide, but when you go to the National Library of Scotland's catalogue and request that book what you get is D. Anderson's Ball-Room and Solo Dance Guide, The Solo Dance Guide appears to have a second title page claiming to be the New Enlarged and Complete Ball-Room Guide. Both are said to have been published in 1897 and I suspect they are indeed the same work. At any rate this dance is in the Solo Dance Guide.

D. Anderson's Ball-Room and Solo Dance Guide, he writes:

Time, 2-4 or 6-8

Stand as for the Quadrille.

Top and bottom couples give right hands across in the centre and go half round.

Give left hand and go back to places.

Top couple and right-hand couple advance and retire to each other. half rights and lefts to each other's places; at the same time bottom couple and left-hand couple advance and retire, half rights and lefts to each others places. Top and bottom couples are now at sides and side couples at top and bottom.

Top and bottom couples half ladies chain.

Side couples half ladies chain.

Top and bottom couples half ladies chain.

Sides half ladies chain, bring ladies back to their own partners.

Top and No. 3 couples again advance and retire, and half rights and lefts; at same time bottom couple and No. 4 couple advance and retire and half rights and lefts, bringing all into their original places.

All promenade half-round with partners.

All walk back to places, the ladies walking behind their partners.

Repeat from beginning — sides taking leading part the second time; top and bottom the third time; sides the fourth time.

Courtesy of National Library of Scotland, licensed under:

The RSCDS attributes this dance to the New Enlarged and Complete Ball-Room Guide, but when you go to the National Library of Scotland's catalogue and request that book what you get is D. Anderson's Ball-Room and Solo Dance Guide, The Solo Dance Guide appears to have a second title page claiming to be the New Enlarged and Complete Ball-Room Guide. Both are said to have been published in 1897 and I suspect they are indeed the same work. At any rate this dance is in the Solo Dance Guide.

D. Anderson's Ball-Room and Solo Dance Guide, he writes:

Time, 2-4 or 6-8

Stand as for the Quadrille.

Top and bottom couples give right hands across in the centre and go half round.

Give left hand and go back to places.

Top couple and right-hand couple advance and retire to each other. half rights and lefts to each other's places; at the same time bottom couple and left-hand couple advance and retire, half rights and lefts to each others places. Top and bottom couples are now at sides and side couples at top and bottom.

Top and bottom couples half ladies chain.

Side couples half ladies chain.

Top and bottom couples half ladies chain.

Sides half ladies chain, bring ladies back to their own partners.

Top and No. 3 couples again advance and retire, and half rights and lefts; at same time bottom couple and No. 4 couple advance and retire and half rights and lefts, bringing all into their original places.

All promenade half-round with partners.

All walk back to places, the ladies walking behind their partners.

Repeat from beginning — sides taking leading part the second time; top and bottom the third time; sides the fourth time.

Courtesy of National Library of Scotland, licensed under:

RSCDS Book 34 says "collected in Canada."

Quoted from The Register of Dances at Castle Menzies (as transcribed by Jim Healy):

1^st & 2^d women leads forward then falls back then leads through the 1^st & 2^d men; then repeats the same & the 1^st & 2^d man leads through them back to their places again; then the 1^st pair crosses over two pair down, & crosses up one pair & falls into their places then the 1^st man leads the 2^d & 3^d man forward, while the 1^st woman does the same on the woman's side, then the 1^st man turns the 3^d woman & falls in between her & the 2^d woman, the 1^st woman in the meantime turns the 2^d man & falls in between him & 3^d man & leads forward as before & turns his partner, then they go six hands round with the 2^d and 3^d pair then back again to their own places.

Note: There is a Playford tune and dance with this name from 1652, which is an 4 bar slip jig. This is not it.

Miss Milligan's Miscellany 1 attributes this to Mozart Allan's Allan's Reference Guide to the Ball-Room of 1880, but the figure occurs earlier than that.

1. Three ladies at the top advance and retire.
2. Three gentlemen advance and retire.
3. The top lady turns round to right, the other two following — same time the three gentlemen turn to left, meet partners at fourth couple, lead up the centre.
4. Three couples galop round to places.
5. Two couples pousette.

Courtesy of National Library of Scotland, licensed under:

The earliest example I've found is J. Seaton's The Ball-Room Manual and Etiquette of Dancing, Halifax, 1852. Seaton calls it "Lord Burghersh's Favorite, or, the British Grenadiers":

Three gentlemen advance to their partners, and retire; three ladies do the same; the first gentleman and second lady advance and turn all round by the right hand to places; the second gentleman and first lady do the same; the first couple lead down the centre of the dance and up agian, and take the second couple's place; the top couple balance and turn all round, giving both hands. When the first couple again arrive at the top, and the last couple at the bottom, each gentleman takes the lady's left hand, and finishes with a quck march round the room, lead by the first and all the other couples following until they return to places.

By 1862 it had migrated to the US and may be found in Elias Howe's American Dancing Master, Boston, 1862. Howe calls also it "Lord Burghersh's Favorite, or the British Grenadiers" and quotes Seaton verbatim.

The next example is from Kate Hughes's Dancing Book, Dundalk, 1867

1. The three top gents advance and retire (4)
2. The three top ladies the same (4)
3. The three top couples promenade to places (8)
4. The tow top couples swing four half round and turn partners (8)
5. Pousette

Then Wallace The "Excelsior" Manual of Dancing, Glasgow, 1872

1. Gentlemen No. 1, 2, and 3 join hands and advance and retire (4)
2. Ladies, Nos. 1, 2, and 3 do likewise (4)
3. The three couples promenade to places (8)
4. Gentlemen No. 1 and 2, and ladies No. 1 and 2, give right hands across, back giving left (8)
5. Pousette, (using Galop step, making a half turn with each, (8)

I do not have access to Allan's work to quote it.

Thomas Wilson published dances called "Captain White" in his L'Assemblée of 1819. But their figures are nothing like this one. Chivers published "Captain Wyke", in 1821, but it's figure doesn't match either.

Miss Milligan's Miscellany 1 attributes this to Wilkie's The Ladies' Pocket-Book for the Year 1794 but according to Robert Keller's site, that book contains no dance anything like "Charles Stuart" either in name or figure.

Many figures were set to this tune, but this one appears to have been first published by either Longman and Broderip or William Campbell, both in about 1790. In 1793 Preston published the same figure:

Cast off 2 Cu: up again. Lead down the middle up again & cast off. turn corners & lead out sides

Straight & Skillernhttps://imslp.org/wiki/204_Favourite_Country_Dances_(Various) calls this dance Gramachree, and writes:

1^st. and 2^d. Cu. set & change sides the same back again lead down the middle up again & cast off lead out each side

In ~1860 Eugène Coulon published a dance named "Long Live the Queen" in his Coulon's Hand-Book, Containing All the Last New and Fashionable Dances, but it's figure doesn't match this one. (This version was frequently republished, even making it across the Atlantic where Howe published it in 1862.

In ~1872 Mr Layland published a different figure with this name in The Victoria Danse Du Monde and Quadrille Preceptor which is slightly more similar to the RSCDS version.

This is not like normal 4 couple dances. The first couple dances once through from the 1st position, then again from the 2nd position, and then (somehow) ends in the 4th position. You would think that would mean that the dance would run for 8 repetitions, but both the SCD dictionary and SCD database say there are only 4 iterations (MMM1 does not specify the number of iterations).

Kate Hughes writes:

1. The tow top ladies and the tow top gents advance and retire and change places [8]
2. Top ladie and second gent swing in the centre and back to places (8)
3. econd ladie and first gent the same (8)
4. Down the center and up (8)
5. Pousett

While in ~1872 J. F. Wallace wrote in his The "Excelsior" Manual of Dancing:

1. Top four advance and retire, and half right and left, (8)
2. First lady turns the second gentleman by giving right hand and both return to places, (4)
3. Second lady and first gentleman repeat No. 2, (4)
4. First couple down the centre and back, (8)
5. Pousette, (8)

The Thompsons published a dance with this name in ~1757, but it's figure does not match. Cooke republished it in 1797. Longman & Broderip in 1791 published a figure which mostly matches. Goulding, in 1801 published yet another figure.

According to Robert Keller's site Longman & Broderip's figure is "cast, cast, lead down and up, cast circle, rights and lefts", which is the same as the RSCDS figure except for the last 8 bars.

Bride published a dance with this name in 1768 but it had a different figure. Longman & Broderip republished it in 1781.

Kate Hughes wrote down a dance very similar to the RSCDS version:

1. Top couple turn round to the right and set in the centre of the dance (4)
2. Turn to opposite sides the ladie between the seceaond and third gentlemen the gent between the seceaond and third ladies and set (4)
3. The three on each side join hands advance and retire twice (8)
4. All six join hands in a circle pass half round to the left and back to the right to places.
5. Pousett (8)

And in his The "Excelsior" Manual of Dancing, ~1872, J. F. Wallace writes:

1. First couple turn round to the right and set in the centre of the dance, (4)
2. Turn to opposite side, the lady between the second and third gentlemen, the gentleman between second and third ladies and set, (4)
3. The three on each side advance and retire twice, (8)
4. All six join hands in a circle, pass half round to left, and back to places, (8)
5. Couples No. 1 and 2 Pousette (8)