[618] I find 'tronchwoman' (Feuillerat, Eliz. 217), 'troocheman' (Feuillerat, Eliz. 287), 'trounchman' (Gascoigne, i. 85), and as interpreters of mimetic tilts 'crocheman' (Halle, i. 13), 'trounchman' (Peele, Polyhymnia, 47); also 'an interpreter or a truchman' accompanying the 'orator speaking a straunge language' in the train of the Lord of Misrule in 1552-3 (Feuillerat, Edw. and M. 89, 123). W. D. Macray has the following note to 'truckman' which appears in the text of Clarendon, History, i. 75, 'i. e. truchman = dragoman. In the old editions the word "interpreter" was substituted as an explanation; in the last editions "trustman" was given as the reading of the MS.'. N. E. D. gives the earliest use of the word as 1485 and derives through Med. Lat. turchemannus from Arab. turjamān, interpreter, whence also dragoman.
[619] Generally speaking, the themes of the Jacobean masks are more literary than those of their Elizabethan precursors. The following analysis is based upon the disguises of the maskers, which may be classed under four main heads: National Types—(Elizabethan), Moors, Swart Rutters, Lance-Knights, Hungarians, Barbarians, Venetian Patriarchs, Italian Women, Venetians, Turks; (Jacobean), Indian and Chinese Knights, Virginians, Irishmen. Occupations—(Elizabethan), Ecclesiastics, Fisherwives, Marketwives, Astronomers, Shipmen, Country Maids, Clowns, Hunters, Tilters, Fishermen and Fruitwives, Mariners, Foresters, Warriors, Pedlars, Seamen; (Jacobean), none. Inanimate Objects—(Elizabethan), none; (Jacobean), Signs of Zodiac, Stars and Statues, Flowers. Abstractions—(Elizabethan), Nusquams, Virtues, Passions; (Jacobean), Humours and Affections, Ornaments of Court, Months. Historical and Mythical Personages—(Elizabethan), Conquerors, Huntsmen of Actaeon and Nymphs of Diana, Wise and Foolish Virgins, Satyrs, Greek Goddesses, Janus, Sages, Wild Men, Amazons and Knights, Knights of Purpulia, Muses; (Jacobean), Goddesses, Daughters of Niger (bis), Powers of Juno, Knights of Apollo, Sons of Mercury, Nymphs of English Rivers, Knights of Oberon, Daughters of Morn, Knights of Olympia, Disenchanted Knights, Sons of Nature, Circe's Lovers, Sons of Phoebus. It is possible that the mediaeval barbatoriae (Mediaeval Stage, i. 362) were dances representing national types. Jean d'Auton (Chroniques, ii. 99) describes, amongst other mommeries at the court of Louis XII in 1501, 'une danse en barboire, en laquelle fut dancé à la mode de France, d'Allemaigne, d'Espaigne et Lombardye, et à la fin en la manière de Poictou ... lesquelz estoyent tous habillez à la sorte du pays dont ils dancerent à la mode'.
[620] Gesta Grayorum; Hay Mask; Lords' Mask; Mask of Squires; Mask of Flowers; Browne's Mask (introducing Circe). As late as 1632 Aurelian Townshend and Inigo Jones borrow the episode of Circe and the Fugitive in Tempe Restored.
[621] An exception is Love Restored, where the place of an antimask is taken by the long comic induction by Masquerado, Plutus, and Robin Goodfellow.
[622] Chapman also uses the phrase 'mocke-maske', which is analogous to Jonson's 'antimasque'.
[623] Brotanek, 141. I find 'antick Maske' also in an Exchequer record (Reyher, 509) relating to the Lords' Mask of 1613.
[624] Cf. the opening stage-direction to James IV (1598), 'Enter after Oberon, King of Fayries, an Antique, who dance about a Tombe'.
[625] Lacroix, i. 241, 262, 291, 296.
[626] The relation of the morris-dance to the folk is described in The Mediaeval Stage, i. 195, but I think that the history of the name requires further examination. There are traces of morris-dances at court in 1559 and 1579, and there was a sword-dance on 6 Jan. 1604.
[627] Feuillerat, Edw. and Mary, 59.