hortly before the
epilogue in Shadwell's _The Sullen Lovers_ (1668) we read, 'Enter a Boy
in the habit of Pugenello and traverses the stage, takes his chair and
sits down, then dances a Jig.'

But it must be remembered that beside the common meaning there was a
gloss upon the word derived from Elizabethan stage practice. In the
prologue to _The Fair Maid of the Inn_ (licensed 1626), good plays are
spoken of as often scurvily treated, whilst

A Jigge shall be clapt at, and every rhime
Prais'd and applauded by a clam'rous chyme.

The Pre-Restoration Jig was little other indeed than a ballad opera in
embryo lasting about twenty-five minutes and given as an after-piece. It
was a rhymed farce in which the dialogue was sung or chanted by the
characters to popular ballad tunes. But after the Restoration the Jig
assumed a new and more serious complexion, and came eventually to be
dovetailed with the play itself, instead of being given at the fag end
of the entertainment. Mr. W.J. Lawrence, the well-known theatrical
authority to whom I owe much valuable information contained in this
note, would (doubtless correctly) attribute the innovation to Stapylton
and Edward Howard, both of whom dealt pretty freely in these Jigs.
Stapylton has in Act v of _The Slighted Maid_ (1663) a 'Song in
Dialogue' between Aurora and Phoebus with a chorus of Cyclops, which met
with some terrible parody in _The Rehearsal_ (cf. the present editor's
edition of _The Rehearsal_, p. 145). Indeed all extrinsic songs in
dialogue, however serious the theme, were considered 'Jigs'. A striking
example would be the Song of the Spirits in Dryden's _Tyrannic Love_,
Act iv.

In Post-Restoration days a ballad sung in the streets by two persons was
frequently called a Jig, presumably because it was a 'song in dialogue'.
Numerous examples are to be found amongst the Roxburgh Ballads.

The Jig introduced in _Sir Timothy Tawdrey_ would seem to have been the
simple dance although not improbably an epithalamium was also sung.

p. 44 _an Entry_. A dance which derived its name from being performed at
that point in a masque when new actors appeared. In Crowne's _The
Country Wit_ (1675) Act iii, I, there is a rather stupid play on this
sense of the word confounded with its meaning 'a hall or lobby'.

p. 63 _Cracking_. Prostitution. A rare substantive, although 'Crack',
whence it is derived, was common, cf. p. 93 and note.

p. 65 _Cater-tray_. cater = quatre. Th