Antimasque dances

Related dances are grouped together. Attributions to specific masques refer to whole groups and are mostly conjectural.

• An antic dance – M. Locke.
• Antimasque (1).
• Antimasque (2).
• Antimasque (3).
• Antimasque (4).
• Antimasque (5).
• Antimasque (6).
• Antimasque (7). This piece was first published in T. Campion’s Fourth Book of Ayres as a song entitled Fain would I wed (lyrics), but it is most likely an adaptation of an antimasque dance. The following two pieces may also be related.
  • Antimasque (8).
  • Antimasque (9).
• Antimasque (10) – J. Jenkins.
• Antimasque (11).
• Antimasque (12).
• The apes’ dance – M. Locke. Perhaps from W. Davenant’s Cruelty of the Spaniards in Peru.
• The apes’ dance at the Temple.
• A re masque.
• The baboons’ dance – R. Johnson. Probably danced by boys dressed as baboons in G. Chapman’s Memorable Masque of the Middle Temple and Lincoln’s Inn.
• The bears’ dance. Probably the dance of Urson and three dancing bears in B. Jonson’s Masque of Augurs.
• The bondman’s dance.
• The cadua – R. Bateman.
• The Cimarrons’ dance – M. Locke. Probably from W. Davenant’s History of Sir Francis Drake.
• Comedian’s masque.
• The cuckolds’ masque.
• The devils’ dance – J. Adson. Perhaps the dance of twelve devils in T. Campion’s Squires’ Masque.
• Essex antic masque. Probably from B. Jonson’s Hymenaei.
• The fairy masque – R. Johnson. From B. Jonson’s Oberon, the Faery Prince.
• The French morris. Perhaps from The Masque of Mountebanks.
• The furies.
• The goats’ masque. Probably from B. Jonson’s For the Honour of Wales.
• Gray’s Inn masque. The melody was adapted as the song A new mad Tom of Bedlam (lyrics).
• The haymakers’ masque.
• The jolly shepherd.
• The king’s mistress.
• The knights’ masque.
• Mary Maudlin masque.
• A masque in flowers. Probably from The Masque of Flowers. It may be a masque dance.
• The maypole. Probably from F. Beaumont’s The Masque of the Inner Temple and Gray’s Inn. The first two strains of the tune were later adapted as the ballad Joan, to the maypole (lyrics).
• Mr Ward’s masque – J. Ward.
• The noble man – R. Johnson.
• The nymphs’ dance – J. Coprario. The so-called dances can be found in F. Beaumont’s Masque of the Inner Temple and Gray’s Inn, W. Browne’s Inner Temple Masque, S. Daniel’s Tethys’ Festival and B. Jonson’s Chloridia.
• The queen’s masque (1).
• The queen’s masque (2) – S. Ives. Perhaps from J. Shirley’s Triumph of Peace.
• The sailors’ masque. Probably the dance of twelve skippers in T. Campion’s Squires’ Masque.
• The satyrs’ masque – R. Johnson. From B. Jonson’s Oberon, the Faery Prince.
• The shepherds’ masque.
• The soldiers’ masque – T. Hume.
• The spring – R. Bargrave. From the cancelled wedding masque of A. Bendish and J. Modyford.
  • The summer – R. Bargrave.
  • The autumn – R. Bargrave.
  • The winter – R. Bargrave.
• The standing masque. From a masque performed at Gray’s Inn. The melody was later adapted as the song The fairest nymph (lyrics).
• The tempest. Usually mistakenly associated with W. Shakespeare’s Tempest.
• The Temple antic (1).
  • The Temple antic (2).
• The Temple antic, the first of.
  • The Temple antic, the second of.
• Van-Weelly.
• Waters’s love.
  • Williams’s love.
  • Wilson’s love.
• Welcome home.
• Witches’ dance, the first. From B. Jonson’s Masque of Queens.
  • Witches’ dance, the second (alternate version). Jonson’s masque calls for only one witches’ dance, so this piece may be unrelated to the one above.

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