Hawkins (1776) does not add much of interest to the above account of the Elizabethan dances, except (p. 704) that there is no authority for a Jigg having generally a pointed (i.e., dotted) note at the beginning of every bar. There is, however, a 'Jegge' given in Stainer and Barrett's Dict. of Musical Terms, dated 1678, where the 'pointed' note is quite characteristic. This may be a more modern feature, for an undoubtedly ancient Jig—viz., Dr Bull's 'King's Hunting Jigg,' not only has no dotted note, but is in common time, without even a tendency towards the rhythm of triplets. [Also see [Appendix], 'Cobbler's Jig.' 1622.]
Here is a most entertaining quotation from Selden,[19] dealing with fashionable court dances in Elizabeth's reign, and shewing how things had gone from bad to worse in respect of dignity and state in dancing, under the Stuarts.
'The court of England is much alter'd. At a solemn dancing, first you had the grave measures, then the Corantoes and the Galliards, and this kept up with ceremony; and at length to Trenchmore, and the Cushion dance: Then all the company dances, lord and groom, lady and kitchen-maid, no distinction. So in our court in queen Elizabeth's time, gravity and state were kept up. In king James's time things were pretty well. But in king Charles's time, there has been nothing but Trenchmore and the Cushion-dance, omnium gatherum, tolly polly, hoite cum toite.'
There are very many passages of interest, containing references to Dances. The first one here given is an instance (in Shakespeare's very text) of singing a dance and dancing to it at the same time. Here the Brawl, and Canary, the first in alphabetical order, are coupled together.
L.L.L. III, i, 9.
Moth. Master, will you win your love with a French brawl?
Arm. How meanest thou? brawling in French?
Moth. No, my complete master; but to jig off a tune at the tongue's end, canary to it with your feet, ... sigh a note, and sing a note.'
Two other examples of dancing to one's own singing are, Mids. V, ii, 25 and Wiv. V, v, 93.
The Brawl was written in quick four-in-a-bar time. There are several well-known tunes to it. [See [Note on Arbeau's 'Orchésographie.'] 1588.] The derivation of the name is from the French, bransle, a totter, swing, shake, etc., or perhaps from Old French Brandeler, to wag, shake, swing. Skeat thinks the original dance may have been a sword dance, and with this he connects the word Brandish.[20] It was danced, sometimes in a ring, holding hands, and sometimes 'at length.'