Page:Shakespeare and Music.djvu/130

116 would do], 'the volte rising and leaping, the courant travising and running, in which measure also our Countrey dance is made, though it be danced after another form than any of the former.'

'All these be made in straines, either two or three.' See Tw. $1⁄1, 4$, 'that strain again,' or Julius Cæsar $4⁄3, 258$, 'touch thy instrument a strain or two.'

Christopher Sympson, the royalist soldier (1667), confirms Morley's statements as to the constitution and use of these dances. See his 'Compendium,' p. 116, where he expressly states that pure instrumental music, 'made only to delight the ear,' is merely a development from Dances.

He speaks of the association of Pavan and Galhard as being 'in course.' He spells the latter Giliard, and says that it is 'according to its name' [see Skeat, Etym. Dict., Spanish, gallardo (ll = ly), pleasant, gay, lively] 'of a loftly and frolick movement.' Immediately afterwards, however, Sympson seems to forget his own remarks, for he says the name is derived from Gallia, 'the country whence it came.'

On page 117 he speaks of Corants, Sarabands, Jiggs, Country Dances, etc., as 'things so common in each one's ears' that he 'need not enlarge his Discourse' to them.