118 CHILDREN OF THE CHAPEL AT BLACKFRIARS 
in either Chapman’s The Widow's Tears,—the “chaste widow” 
which the Duke of Stettin saw,— nor in any other play. 
It is quite clear that the musical training of the Children amply 
balanced the dramatic. 
The notable thing about the dancing? is that it differs from the 
public theatre jig and Morris. 
It is treated more as an art and 
seems modeled on the masques long practiced at Court. This is 
true especially of Jonson’s Cynthia’s Revels and four of Chap- 
man’s plays, Sir Giles Goosecap, The Gentleman Usher, May Day, 
The Widow’s Tears; also Marston’s The Dutch Courtezan and 
The Malcontent. 
The ancient custom of masques at Court* was carried out by 
Elizabeth and her predecessors with elaborate detail and at great 
friars entertainments which had be- 
come the great new fad of London, 
the suggestion of it at least is diffi- 
cult to repress, and no other ex- 
planation of the simultaneity pre- 
sents itself. 
*See further, infra, “Plays,” vol. 
*The Case is Altered (ca. Sept— 
Oct., 1597).—No dancing indicated. 
Cynthia’s Revels (ca. Apl. 1600). 
—(ed. Gifford- Cunningham), III, 
iii, p. 170, Asotus sings and dances. 
Vv, ili, p. 200a-202a, three several 
dances, each composed of eight 
maskers in .rich attire, — four 
nymphs of Cynthia’s court and four 
sylvan brethren. 
Str Giles. Goosecap (ca. fall, 
1600).—(ed. Bullen), II, i, p. 31, 
“He daunceth speaking.” pees 
Your Lord is very dancitive me- 
thinkes.” V, ii, p. 92, A masque 
closes the play, “In form whereof 
first daunce, sing and 
daunce 
THE MEASURE. 
Now to the song and do this gar- 
land grace.” Canto. 
Poetaster (ca. Apl. 1601).—No 
dancing indicated. See further, in- 
fra, 119. 
The Gentleman Usher (ca. sum., 
1601).—(ed. Shepherd, 1873), II, i, 
p. 88a, Dance of Broom-man, Rush- 
man, Broom-maid, Rush-maid in a 
masque. 
Monsieur D’Olive (ca. Oct— 
Dec., 1601).—No dancing indicated. 
May Day (ca. May, 1602).—(ed. 
Shepherd, 1873), I, i, preceded by 
“Chorus juvenum cantantes et sal- 
tantes. [Exeunt saltan.” IV, i, p. 
296, Quintiliano skips about while 
singing to music of fiddles. V, i, 
p. 303b, Enter Aurelia, &c., ‘ 
masked, dancing. The masque is 
danced in three rounds. The play 
ends with all joining hands and 
dancing. Exeunt.. 
The Widow's Tears (Sept. 
1602).—(ed. idem), III, ii, p. 326a, 
A masque. Six sylvans with torches. 
dance. They take out the bride and 
the rest. All dance. V, i, p. 382a, 
“He dances and sings.” 
The Dutch Courtezan (fall— 
wint., 1602).—IV, i, Enter the 
Masquers; they dance. 
The Malcontent (spring, 1603). 
—In IV, i, the masque begun on 
elaborate scale of the “brawl” is in- 
terrupted and not taken up again. 
The movements to be executed in 
the court dance described. V, iii, 
A masque, in which additional coup- 
les join at intervals. 
*See especially A. Soergel, Die 
Englischen Maskenspiele  (Diss., 
Halle, 1882) ; and Rudolf Brotanek, 
Die Englischen Maskenspiele 
(1902). - 
232 
