Two antimasques appeared, the first of "franticks," the second of "fierie spirits," the torchbearers, and the masquers were stars and golden statues called to life. Lastly, Salmacida Spolia (January 21, 1640) a

Their relation to the witches of Macbeth and Middleton might be more difficult to trace than their diverse sources in the classics and in contemporary books on the black art. glass, describes each in fitting verse. In the 18th century, William Boyce and Thomas Arne, among other composers, continued to utilize the masque genre mostly as an occasional piece, and the genre became increasingly associated with patriotic topics. Bacon's interest in such entertainments was of long standing, and we have seen him as far back as 1587, a student of Gray's Inn, devising "dumbe shewes" for a Senecan tragedy, while his familiar essay, Of Masques and Triumphs, from its allusions doubtless written soon after the events on which we are now engaged, is a complete epitome in little of the lore as to "these toys," as wisdom must ever term them.1  As to Beaumont, it may be remarked that he wrote this masque as a member of the Inner Temple and about the time of his retirement from writing for the popular stage, a retirement not improbably due to his marriage with a lady of station. A "Prince of Purpoole," as he was called, was chosen to rule over the revels, and solemnly surrounded with all the insignia of mock royalty: nobles, counselors, officers, guards, family, and followers. Jonson contributed more than twenty masques to the thirty-seven of James' reign; Campion, Daniel, and perhaps Marston alone, writing more than one each among his rivals.3 

A contemporary estimate gives the total cost of the masque to the four societies as "above twenty thousand pounds. "2, With the coming of the next New Year we find Jonson once more firmly established as the accepted writer of masques for the court; and for four succeeding years (1615 to 1618 inclusive) each January witnessed a masque of his at Whitehall; whilst one private masque and two independent antimasques (all within the same period) attest alike his activity and his inventiveness. Brotanek has assigned to Davenant's another masque entitled Luminalia, presented by the queen and her ladies, February 6, 1638.1  This is a production of no little fancy; nor does it fall below the graceful mediocrity of Davenant.2  Be Luminalia whose it may, Davenant's work in the masque is direct, not particularly original, and decidedly unlyrical; though, with the ever-fertile and ingenious devices of Jones, evidently sufficient to please the none too exacting demands of a time in which serious-minded men, whether Cavalier or Puritan, were busied with affairs other than "toys.

King James was so pleased with this masque that he ordered it repeated, like each of its three predecessors;3  and for the second performance Jonson wrote an additional antimasque which he called For the Honor of Wales. During the late 17th century, English semi-operas by composers such as Henry Purcell had masque scenes inset between the acts of the play proper. During a period of some thirty years Jonson composed no less than nine entertainments, three "barriers," two antimasques, and three and twenty masques proper, these latter constituting more than twice as many as were written by all his competitors and imitators combined. The fable is that of Ulysses and Circe. At the end, the audience would join with the actors in a final dance. anew, and, in the next year, Aurelian Townsend, a small poet and one time "son of Ben," was invited to supply the words to two inventions of Jones. He was ill, "confined to bed and board," deprived by his rival of his chiefest means of a livelihood. Howlet, the twelve spheres descend and call Beauty from her fortress, represented as a huge heart. In English masques, purely musical interludes might be accompanied by a dumbshow. Michael Pearce, 'Anna of Denmark: Fashioning a Danish Court in Scotland', Masque of Anarchy, A Poem by Percy Bysshe Shelley, https://en.wikipedia.org/w/index.php?title=Masque&oldid=979524776, Creative Commons Attribution-ShareAlike License, This page was last edited on 21 September 2020, at 07:32. It formed part of Queen Anne's entertainment of the Duke of Holstein, her brother, and on the same day Prince Charles was created Duke of York. A masque involved music and dancing, singing and acting, within an elaborate stage design, in which the architectural framing and costumes might be designed by a renowned architect, to present a deferential allegory flattering to the patron. In a word, the ponderous and complete allegory of the middle ages, in which every item is figured forth with keen and tireless ingenuity, has been replaced by be chronicled among dramatic forms. The barriers and entertainment thus advanced; the development of the true masque was to come later. . Catherine de' Medici's court festivals, often even more overtly political, were among the most spectacular entertainments of her day, although the "intermezzi" of the Medici court in Florence could rival them. should fill that part . It is one of the most poetical of Jonson's masques. It was the concluding solemnity of several days of royal ceremonial in which Jonson took his part as the author of the allegorical entertainment at the Barriers, where the Lady of the Lake, Prince Arthur, and Merlin all of these was Shirley's Triumph of Peace, given February 3, the most magnificent pageant ever perhaps exhibited in England,"a procession and masque in which the four inns of court united to honor their king and to show their detestation of the tenets of Prynne and such as thought with him, recently set forth in notorious diatribe, Histriomastix.3  The Triumph of Peace is, a monster masque, like for its size and the incongruous elements which its designers, in their search after novelty, saw fit to unite in it. Comus is a far more elaborate production, and, even if not in strict parlance a masque (from the circum-. Nichols lists no less than three and thirty tracts in verse and prose, inspired by the accession and coronation of the new monarch and more than a score of "miscellaneous eulogistic tributes to King James and his family," most of them of the earliest years of his reign.1  Daniel was early in the field with a lengthy Panegyric Congratulatory delivered at Burly-Harington, before James had reached London; and Jonson soon after devised the pageants of the royal welcome in the city and the "Panegyre" on the session of the king's first parliament.2  But neither with these nor with the devices and pageants of his coronation and his progresses, which he continued after the manner of his predecessor, are we here concerned. Jonson and Chapman are deep in their show of classical learning. Nor is, In Jonson's absence Campion gained a brief vogue.

After an introduction in which Night awakens her son, Somnus, who is sleeping in a cave at the foot of the mountain, Iris descends, delivers a message and a "prospective" (surely a crystal rather than a telescope) to Sibylla, "decked as a nun in black upon white;" and Sibylla, viewing the goddesses as they successively descend in her Lastly, as to the Jacobean masque, it should be remembered that it remained, as earlier, only one form—though the most sumptuous—of the many entertainments in which the age abounded. The royal progresses continued, though more serious addresses had taken much of the function of the old allegorical welcome; and complete dramas, in Latin and English, pastoral or other, often supplied the place formerly occupied by the "entertainment." The final solemnity of Somerset's marriage was The Masque of Flowers, the work of three gentlemen of Gray's Inn, acted by, their fellows and discharged as to cost by Sir Francis Bacon, who was said to have expended thereon no less a sum than £2000,1  The antimasque is a duel between Silenus and Kawasha (who appears to be the god of smoke) as to the superior worthiness of wine or tobacco, "to be tried at two weapons, at song and at dance," followed by the now customary dance of various characters, here realistically transplanted from the streets of London. For ingenious diablerie with all the horrid appurtenances of their wicked craft, these witches of Jonson are without comparison. rôle of Heroick Love. The masque not wholly an The antimasque contained twenty "entries," as they were now styled, some of them danced by three or two, or even by a single character. In the heart of the witches' dance the scene changes to a magnificent building, figuring the House of Fame, wherein were discovered the twelve masquers seated on a triumphal throne. Two days later, he furnished The Irish Masque, which is no more than a humorous dialogue between four Irish footmen in broken English followed by songs in praise of the king, sung by Irish bards. Space has been given to the description of this masque because it constitutes the type out of which the later masque was to grow. "I hear little or no commendation of the masque made by the Lords that night, either for device or dancing," says the Lord Chamberlain, "only it was rich and costly. All having reached the floor, move in procession to the upper end of the hall. . Part of the problem is that only texts survive complete; there is no complete music, only fragments, so no authoritative performance can be made without interpretive invention. Thereupon Juno appears seated in state and splendor above the "rack" of the clouds, Iris and her rainbow beneath with the eight lady masquers, Juno's "powers," as they are termed. welcomed the heir to the British crown to the honors of the tilt and of knighthood.2  For Daniel's masque Inigo Jones devised three changes of scene, a haven and castle with ships moving at sea, the golden and gem-studded caverns of Tethys and her nymphs, and lastly an artificial grove.


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