nds in a circle, and gave one another continual shakes, the
steps changing with the tune. With this dance balls were usually
opened.[824] Kissing was occasionally introduced. In "Love's Labour's
Lost" (iii. 1), Moth asks his master: "Will you win your love with a
French brawl."

[824] Douce's "Illustrations of Shakespeare," p. 134.

_Canary._ This was the name of a sprightly dance, the music to which
consisted of two strains with eight bars in each; an allusion to which
is made by Moth in "Love's Labour's Lost" (iii. 1), who speaks of
jigging off a tune at the tongue's end, and canarying to it with the
feet. And in "All's Well that End's Well" (ii. 1), Lafeu tells the king
that he has seen a medicine

"that's able to breathe life into a stone,
Quicken a rock, and make you dance canary
With spritely fire and motion."

This dance is said to have originated in the Canary Islands, an opinion,
however, which has, says Dyce, been disputed.[825]

[825] See Chappell's "Popular Music of the Olden Time," 2d
edition, vol. i. p. 368; Dyce's "Glossary," vol. i. p. 63.

_Cinque-pace._ This was so named from its steps being regulated by the
number five:

"Five was the number of the music's feet,
Which still the dance did with five paces meet."[826]

[826] Quoted by Nares from Sir John Davies on "Dancing." Mr.
Dyce, "Glossary," p. 81, says that Nares wrongly confounded
this with the "gallard."

In "Much Ado About Nothing" (ii. 1), Shakespeare makes Beatrice make a
quibble upon the term; for after comparing wooing, wedding, and
repenting to a Scotch jig, a measure, and a cinque-pace, she says:
"then comes repentance, and, with his bad legs, falls into the
cinque-pace faster and faster, till he sink into his grave." A further
reference occurs in "Twelfth Night" (i. 3), by Sir Toby Belch, who calls
it a "sink-a-pace."

_Coranto._ An allusion to this dance, which appears to have been of a
very lively and rapid character, is made in "Henry V." (iii. 5), where
the Duke of Bourbon describes it as the "swift coranto;" and in "All's
Well that Ends Well" (ii. 3) Lafeu refers to it. A further notice of it
occurs in "Twelfth Night" (i. 3), in the passage where Sir Toby Belch
speaks of "coming home in a coranto."

_Fading._ Malone quotes a passage from "Sportive Wit," 1666, which
implies that this was a rustic dance:

"The courtiers scorn us country clowns,
We country clowns