For a minute description of the steps of minuets, ancient and modern, see G. Desrat's "Dictionnaire de la Danse," pp. 229-246 (Paris, 1895). II. Gagliarda: Vivace, D minor, 6-8. A gay theme begins at In the second section the theme is treated in a somewhat free contrary motion, as was usually the case in the gigue of old days. once. The name of this dance is probably best known to those who are not musicians or amateurs of music by the reference to the dance in "Twelfth Night" (act i., scene 3). Sir Andrew Aguecheek says to Sir Toby Belch:— I'll stay a month longer. I am a fellow o' th' strangest mind i' th' world; I delight in masques and revels sometimes altogether. Sir To. Art thou good at these kickshaws, knight? Sir And. As any man in Illyria, whatsoever he be, under the degree of my betters; and yet I will not compare with an old man. Sir To. What is thy excellence in a galliard, knight? Sir And. 'Faith, I can cut a caper. Sir To. Sir And. Illyria. And I can cut the mutton to 't. And I think I have the back-trick, simply as strong as any man in Sir To. Wherefore are these things hid? Wherefore have these gifts a curtain before 'em? are they like to take dust, like Mistress Mall's picture? why dost thou not go to church in a galliard, and come home in a coranto? My very walk should be a jig; ... What dost thou mean? is it a world to hide virtues in? I did think, by the excellent constitution of thy leg, it was form'd under the star of a galliard. Sir And. Ay, 'tis strong, and it does indifferent well in a damask-color'd stock. Shall we set about some revels? Sir To. What shall we do else? were we not born under Taurus? Sir And. Taurus? that's sides and heart. Sir To. No, sir; it is legs and thighs. Let me see thee caper: ha! higher: ha, ha!-excellent!" There is another reference to the dance in Shakespeare's plays in "King Henry V." (act i., scene 2), when the Ambassador of France gives to Henry the message of the Dolphin: The prince our master Says, that you savor too much of your youth, And bids you be advis'd, there's naught in France Some have said that the word "galliard" comes from "gay." The long stockings worn in Shakespeare's time were called "stocks.". "Which our plain fathers erst would have accounted sin, Before the costly coach and silken stock came in," as Drayton sang. In "The Taming of the Shrew" Petruchio's lackey is described as coming "with a linen stock on one leg and a kersey boot hose on the other.' We invite comparison with other Teas S.S. PIERCE CO. Tremont and Beacon Streets BOSTON Coolidge BROOKLINE 1785: "Galliard [gaillard, French; imagined to be derived from the Gaulish ard, genius, and gay]. An active, nimble, spritely dance. He quoted passages from Shakespeare in illustration and these passages from Bacon: "If there be any that would take up all the time, let him find means to take them off, and bring others on; as musicians use to do with those that dance too long galliards." "The tripla's and changing of times have an agreement with the changes of motion; as when galliard time and measure time are in the medley of one dance.' Johnson also noticed "galliard, a gay, brisk, lively man; a fine fellow"; also "gaillardise [French]. Merriment; exuberant gaiety"; and he quoted Sir Thomas Browne: "I was born in the planetary hour of Saturn, and I think I have a piece of that leaden planet in me: I am no way facetious, nor disposed for the mirth and galliardise of company." All these words, Johnson said, were obsolete. John Ash, in his Dictionary (second edition, London, 1795), defined "galliard" as above, and said it was derived from the French. He also included "Galliarda (s. from galliard, but now grown obsolete), the music to the dance called a galliard." N. Bailey, in his Dictionary that was for a long time used by our grandfathers (second edition, London, 1736), defined "galliard" as 'a sort of dance, consisting of very different Motions and Actions, sometimes gliding smoothly, sometimes capering, and sometimes across." He derived "galliard" the adjective from the French 'gaillard" or the Italian "gagliardo." Let us now quote from Dr. Murray's "New English Dictionary" (Oxford, 1901): "Galliard. Forms, gaillard (e, gal(1)yard(e, galiard(e, galzart, galyeard (galzard, galzeard, gagliard), galliard (adapted from the Old French and French gaillard, -art (modern French gaillard) =Provençal galhart, Spanish gallardo, Portuguese galhardo, Italian gagliardo, adj. of unknown origin. The substantive," as used to denote a dance, "is an adaptation of the French gaillarde, properly the feminine of the adjective."] According to Murray, the word 'galliard" has these meanings: A. 1. Adjective, valiant, hardy, 'stout," sturdy (obsolete except in archaic use); 2. Lively, brisk, gay, full of high spirits, archaic. 3. Having a gay appearance, spruce, MISS GAFFNEY HILL, SMITH & CO. Hygienic Treatment of Removing and preventing wrinkles and improving The only method which grows new permanent hair in six treatments. Manicuring and Shampooing Wholesale and Retail STATIONERS Engraving, Die Stamping and Fine Printing Blank Book Manufacturers Modern Loose-leaf Devices and Supplies 8 MILK STREET Old South Building Telephone, Main 1590 Henry F. Miller PLAYER-PIANO is a complete piano. It appeals to the educated musician by its beauty of tone and responsiveness to the touch upon the keys. 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The first appearance in English literature of the word with this meaning was in Roger Ascham's "Toxophilus" (1545): "Whether . . . these galiardes. . . be lyker the musike of the Lydians or the Dorians, you that be learned judge." The galliard was, toward the close of the Middle Ages, what was known in France as a "Basse Danse." It was, in France at least, unknown to the common people, but much in favor with the gentry. It was there danced to the music of hautboy and tabour. Tabourot, in his "Orchésographie" (1589), described it as follows: "Those in the towns who now dance the Gaillarde, dance it tumultuously, nor do they attempt more than five steps. In the beginning it was danced more discreetly; the dancer and his damosel, after making their bows, performed a turn or two simply. Then the dancer, loosing his damosel, danced apart to the end of the room. . . . Young people are apter to dance it than old fellows like me." The galliards most in use were: "Il traditore mi fa morire," "L'Anthoinette," "La Fatigue,” “La Milanaise," "J'aimerais mieux mourir seulette," "Si j'aime ou non," "L'ennui qui me tourmente," and "Baisons-nous, ma belle." Tabourot said of this last, "We may conjecture that the dancers found it agreeable, for it introduced a delectable variation." The Tordion, or Tourdion, was not unlike the galliard, but its steps were smoother and more gliding. The influence of Italy in France was marked in the sixteenth century. Catherine de Medicis had much to do with the introduction of gay festivals. "To the grave, rather sad, and monotonous dances prevailing at that period she added others, more lively, which were altered also by the reform of dress instituted by her. Instead of Pavane and Branle, Gaillarde, Volte, and Courante were the fashion. The steps became more jumping than gliding; the ladies' |