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be explained by a passage in another comedy found in vol. vi. of that valuable selection from our ancient drama: I refer to “ The Hog hath lost his Pearl," where the following dialogue takes place between Haddit, a poet, and a Player :
“ Player. The muses assist you, sir. What ! at your study so early? “ Haddit. O! chiefly now, sir ; for Aurora Musis amica.
Player. Indeed I understand not Latin, sir.
“ Haddit. You must then pardon me, Mr. Change-coat ; for, I protest unto you, it is so much my often converse, that, if there be none but women in my company, yet I cannot forbear it.
Player. That shows your more learning, sir. But, I pray you, is that small matter done I entrusted you for?
“ Haddit. A small matter! You'll find it worth Meg of Westminster, although it be but a bare jig,
• Player. 0, lord ! sir, I wish it had but half the taste of Garlick.
“ Haddit. Garlick stinks to this: if it prove that you have not more ...... than e'er Garlick had, say
I am a boaster of my own works ; disgrace me on the open stage, and bob me off with ne'er a penny."
If any further illustration be wanted, it may be found in a couplet of the Works of John Taylor, the water-poet, printed in 1630, where he says :
“ And for his action he eclipseth quite
may establish that the jig had a second title, which in fact is distantly alluded to by Haddit. The play of “Meg of Westminster” is spoken of by Nat. Field in his excellent comedy, “ Amends for Ladies," act ii., sc. 1, which was re
. vi. I refer to
printed some years ago in a supplementary volume to Dodsley's
t, I pray
Cignus per plumas Anser.
And mortar tread with thy disdained shanks.
For which the world should give thee many thanks.
Art. VII. — Illustration of a Passage in Twelfth Night : the
passing measure Parin.
I am anxious to avail myself of the intended publication of the Papers of the Shakespeare Society, in order to make an addition to a note in the impression of “Shakespeare's Works” completed under my care. The note to which I am desirous of appending a supplement is upon a passage in “ Twelfth Night,” act v., sc. 1, where Sir Toby Belch says of “ Dick surgeon," who, he is told, is drunk :
" Then, he's a rogue, and a passy-measures pavin. I hate a drunken rogue."
The difficulty here, with all the commentators, has been to understand why “ Dick surgeon” is called “a passy-measures pavin :" having become intoxicated, of course he has passed the ordinary measures of discretion in his cups ; but the word “ pavin” also requires farther explanation. I was not aware, until very recently, that there was in Shakespeare's time a wellknown dance, called “the passing measure pavin ;” and it is to this that Sir Toby clearly alludes.“ Dick surgeon " has passed his measures in getting drunk, and these words instantly bring “pavin ” to the knight's mind, which was not inappropriate, because, as stated in the note, (Shakespeare's Works, iii., 413, edit. 1844) a pavin was “a slow, heavy movement, such as a drunken man might be supposed to execute in his intoxication.” Musical authorities tell us, that “passy-measures," as it stands in the old copies, is a corruption of passamezzo, and such may be the fact ; but nobody seems to have known, any more than myself, that there was a dance, in which Queen Elizabeth must often have joined, called “the passing measure pavin.”
I have before me a list of thirteen dances, in a manuscript
of the time, with curious descriptions of the figures belong-
“ The passinge measure Patyon. “ 2 singles and a double forward, and
2 singles syde. Reprynce back.”
Among the other twelve dances we find “my Lord of Essex measure," “the Queenes Allmane," and various others, not perhaps so much illustrative of Shakespeare as of the court entertainments at the period when he was a writer for the stage, and when his plays were performed at Whitehall, Greenwich, Richmond, &c., as part of the amusements during Christmas and Shrovetide, at which seasons these dances were also in request. Even their titles are amusing; and, although some of them are new (not being mentioned, as I apprehend, elsewhere) others will be recognized as having been repeatedly referred to by dramatists, and other writers, about two centuries
I therefore shall not hesitate to subjoin the whole, with the technical terms employed in the descriptions, exactly as they stand in the manuscript.
I have already quoted “ The passing measure pavin," or pavyon, which comes first, and the second is the well known dance of
pred e won
and a half ago.
t is to und
'My Lo. of Essex measure.
“ Tynterne abb. “A double foreward : reprynce back once: 2 singles, a double rownde bothe wayes: a double foreward: reprynce back 3 tymes: 2 syngles, a double rownd both wayes.
“ The old Allmayne. “ 2 syngles, a double rownd both wayes : 4 doubles foreward, 2 singles, a double rownd both wayes.
“The Queenes Allmane. “ 2 singles foreward ; caste of a couple rownde : 2 singles syde: Reprynce back twies, 4 doubles foreward, 2 singles foreward, cast of a double rownde: 2 singles syde : Reprince
" Cicilia Patyon. “One single, a double foreward, one syngle syde: reprynce back, a double forward: 2 syngles syde and 6 back twies : 2 singles, a double foreward. Reprynce back twyes: one single, a double forward, one single syde. Reprins back: a double foreward, 2 singles syde, and 6 back twyes.
" Cicilia Allmane.
“ 2 singles and a double foreward, one single syde twyse : parte : 2 singles syde, and hover. Change places with singles and double ; then hover and imbrace: 2 singles syde, and hover: 2 singles, a double into your owne place agayne, then hover and imbrace.
“ The Black Allman.
“4 doubles foreward: parte. A double back, a double foreward, a double syde. Longe on the lefte legge, and a double on the right legge. 2 singles foreward, and 2 singles rownd,