d_ (1700), IV, xii:
'You are all camphire and frankincense, all chastity and odour.'

* * * * *
* * * *

Cross-References from Critical Notes: _The Amorous Prince_

p. 121 _The Jig and Dance._ cf. note (on p. 43), Vol. III, p. 477:
_A Jigg (The Town Fop)_.

_Town Fop_ note:

p. 43 _A Jigg._ There were, in Post-Restoration times, two
interpretations of the word Jig. Commonly speaking it was taken to
mean exactly what it would now, a simple dance. Nell Gwynne and Moll
Davis were noted for the dancing of Jigs. cf. Epilogue to Buckingham's
_The Chances_ (1682):--

The Author dreads the strut and meen
Of new prais'd Poets, having often seen
Some of his Fellows, who have writ before,
When Nel has danc'd her Jig, steal to the Door,
Hear the Pit clap, and with conceit of that
Swell, and believe themselves the Lord knows what.

Thus at the end of Lacy's _The Old Troop_ (31 July, 1668), we have
'a dance of two hobby horses in armour, and a Jig.' Also shortly
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 Phoebu