JOY AFTER SORROW
Fried Herman reconstruction (from "Serendipity")

Longways set for 3 cus.  Triple time.

A1 (1-2) 1st man go down the middle // 1st woman go down the outside.
   (3-4) Below 3rd cu they turn single to the right.
   (5-6) 1st man go up his outside // 1st woman go up the middle.
   (7-8) In 1st place they turn Single to the Right.

A2 (1-2) 1s set forward to meet ptn and face down
         3s set forward to meet ptn and face up
         2s set falling back and face up
   (3-8) Mirror hey.  3 steps for each pass.

B1 (1-2) 1st man set forward to 2nd woman // 2nd man move 1 place up
   (3-4) Man lead woman around him.  They face down at the top of the set
         (Others make space)
     (5) They move down to meet 3d couple, who don't move
   (6-8) They turn away from each other, face up, into ...
  (9-12) They go half figure eight through people at the top.  
         End in middle place proper.
 (13-16) They do a 2-hand turn 1x around, 2 single steps on bars 15-16, into
         middle place proper.  They release 1 hand ...

B2 (1-8) To take in 1st woman  and go hands 3 until 1st couple is in 
         second place improper (= 1 1/2 x around).  Single steps on bars
         (3 and 4) and (7 and 8).  Release hands early and ease out to make
         the set wider.

  (9-11) 1st couple cross up the middle to above top couple then turn to
         face partner
    (12) They fall back 1 step ( = 3 counts)
 (13-16) They cast into 3d place // 3d cu move up.

Dance 2 more times

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Alan's notes:

I'm adopting Fried de Metz Herman's reconstruction of this dance, which is a
different version than I had on the Playford Ball program in 2000.  This solves
some problems and requires less exquisite control on the part of the dancers to
do successfully.


The A is essentially what we're used to in Joy after Sorrow - a lengthened
contra-esque Mad Robin with turns single in the middle - , but in A2 bars 1
and 2 everybody sets and faces some direction, so all are moving through all 8
bars.

B1: I'd say bar 5 is down, bar 6 is start to turn, 7 and 8 complete the turn
but you're only going 270, so there is lots of time here.
13-16 are our big differences; Fried honors the probable minuet stepping of the
early 1700s dance with the 1-2-3, 1-2-3, 1-and, 2-and stepping, and in B2
the same. There's a real flow, flow, step stop. step stop, feeling here.  This
will be much more suitable.

B2 9-11:  1s cross giving right shoulder and keeping their eyes on each other
(woman above).  She has a twiddle out to face in; he takes the easy turn. 
(I'm not speaking for Fried here, but for myself when test dancing this
version.  Pausing here is hard for a lot of people and it will be easier if
they stay connected, interrupting the sense of doing an extended half figure
eight.)