ive_ steps, and is therefore called
_Cinque_ Pas. These five steps are described in the Orchesographie,
1588. See the Note on that work for the explanation of the steps of
this and other Shakespeare dances.

Beatrice's description seems to connect the cinquepace with the
tottering and uncertain steps of old age. 'Repentance,' she says,
'with his _bad legs_ falls into the cinquepace faster and faster, till
he _sink_ into his grave.'

2. Coranto is the Italian form of our Country dance. The Country dance
is original in England, but under different foreign names has been
called French or Italian. It means simply 'country' or 'rustic' dance.
Skeat is entirely opposed to the derivation from _Contra_ danza, with
a supposed reference to two opposite lines of partners; and in this he
is confirmed by Shakespeare, _Tempest_ IV, i, 138, 'country footing.'
The old English name was 'current traverse,' and Morley (1597) speaks
of the Courant step as 'travising and running,' which would appear to
connect the Italian word with _curro_. Sir John Davies (1570-1626), in
his poem 'Orchestra,' identifies Rounds, Corantos, measures, and some
other dances with Country Dances. That is, whatever the rhythm or
speed of the actual tune used, these variously named Country Dances
could be performed to it. Sir Roger de Coverly, our typical English
Country Dance, is in _form_ almost the same as the Brawl, Coranto,
Galliard, or measure. A Courant by Frescobaldi (1591-1640) is in
triple time. As for its 'step,' Davies says it is 'on a triple dactile
foot,' 'close by the ground with sliding passages.' According to Sir
Toby, it would be a quicker and gayer dance than the Galliard, for he
compares the walk to church to the latter; but the more lighthearted
journey back to dinner he likens to the Coranto. The Jig would be even
faster, for Sir Andrew's 'very walk,' that is, his _week-day_ gait,
was to be 'a jig.'

3. The Galliard, in accordance with its derivation, is properly
described in _H. 5._ I, ii, 252, as a '_nimble_' galliard. This was
extremely popular, both as a virginal piece and for dancing. There is
quite a long list of Galliards by various composers, in Qu.
Elizabeth's Virginal Book. There are several in _Parthenia_ (1611) by
Byrde, Bull, and Gibbons. They are always in triple time, and consist
of either two or three strains of an even number of bars.

Sir Toby seems to connect a Galliard with somewhat violent 'capers.'
He remarks on the