292:.) In the end, the disorderly and disruptive forces of the anti-masque are always driven off by a re-established order (which is always "the established order"); but that order is presented in a hyper-idealized style that contrasts sharply with the flawed and limited humans who are enacting the parts (and the courtiers and other dependants in the audience know those flaws and limits all too well). In this interpretation, the anti-masque undermines the intention of the performance, giving it an effect opposite to the one intended. In the anti-masque, the Stuarts are, perhaps, unwittingly subverting their authority.
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156:, Jonson writes that Queen Anne "had commanded me to think on some dance or show that might precede hers and have the place of a foil or false masque...." Jonson responded with a dance for a dozen female figures "in the habit of hags or witches...the opposites to good Fame...," to supply "a spectacle of strangeness...."
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of the era. More generally, the invention of the anti-masque shaped the art form of the masque for the remainder of its life. Some modern critics, approaching the masque from a more skeptical if not jaundiced perspective than that of its creators and participants, see the anti-masque as a subversion
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A mistress witch and her eleven disciples all dance, then each witch testifies her crimes and outrages to her mistress, before they fall once again into "a magical dance, full of preposterous change and gesticulation." Their antics are interrupted and dispelled by the intrusion of the masque proper:
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In this and the masques that followed at Court, the characters in the masque proper were generally "personated" by members of the Court; but the undignified anti-masque roles were filled by professional actors from the organized companies.
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the House of Fame is displayed, with twelve virtuous Queens, their apotheosis being "Bel-Anna." The roles of the other Queens were filled by eleven ladies of the court:
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of the surface intent of the performance. ("But this antimasque quite eclipses its masque. The queens are mere wax-works after the witches" — the verdict of
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made drawings for the costumes, Atalanta, played by the
Countess of Arundel, was dressed in crimson, yellow, and blue.
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on 2 February 1609, it marks a notable development in the masque form, in that Jonson defines and elaborates the
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In his preceding masques, Jonson had been experimenting with elements of sharper opposition and variety:
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The work also exists in a manuscript in Jonson's hand, now Royal MS. 18 in the collection of the
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The references used may be made clearer with a different or consistent style of
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Jonson's use of witches in the anti-masque is an interesting commentary on the
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424:"The Holloway Pages: Ben Jonson: Works (1692 Folio): The Masque of Queens"
152:(1608) featured twelve boy torchbearers "in antic attire." In the case of
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for the booksellers
Richard Bonian and Henry Walley. After its initial
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The masque was probably the first to use a revolving stage, known as
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on
February 22, 1609, and the edition that followed was printed by
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The
Cambridge History of English and American Literature, Vol. VI.
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468:
Dynasties: Painting in Tudor and
Jacobean England, 1530-1630
391:
Dynasties: Painting in Tudor and
Jacobean England, 1530-1630
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was published soon after its performance, by the command of
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was one of the fourteen masques included by Jonson in the
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366:. Vol. 6. University Press. 1908. pp. 347–348.
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The
Cambridge History of English and American Literature
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The Masque of Queens, Celebrated From the House of Fame
489:The Early Stuart Masque: Dance, Costume, and Music
146:) contained two contrasting sets of masquers; and
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136:, form a contrasting and complementary pairing;
925:News from the New World Discovered in the Moon
960:Time Vindicated to Himself and to His Honours
565:
84:is one of the earlier works in the series of
436:Martin Wiggins & Catherine Richardson,
364:The Cambridge History of English Literature
206:: Hypisicratea, but first cast as Atalanta.
967:Neptune's Triumph for the Return of Albion
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558:
485:
350:
526:. New Haven, Yale University Press, 1969.
519:4 Volumes, Oxford, Clarendon Press, 1923.
67:Learn how and when to remove this message
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96:in the early 17th century. Performed at
834:The Speeches at Prince Henry's Barriers
464:
167:"for the Quene to weare at the Maske".
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876:Mercury Vindicated from the Alchemists
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553:
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486:Ravelhofer, Barbara (13 April 2006).
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827:The Entertainment at Britain's Burse
20:
1002:The King's Entertainment at Welbeck
981:The Fortunate Isles and Their Union
848:Love Freed from Ignorance and Folly
438:British Drama, 1533–1642: 1609–1616
411:The Evolution of English Collecting
13:
1109:Plays about witches and witchcraft
862:A Challenge at Tilt, at a Marriage
243:Lady Elizabeth Guilford: Artemisia
132:), both written for and featuring
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1125:
988:Love's Triumph Through Callipolis
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104:for the first time in its pages.
1104:Henry Frederick, Prince of Wales
974:The Masque of Owls at Kenilworth
932:The Entertainment at Blackfriars
256:; these three were daughters of
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378:Jewels and Plate of Elizabeth I
327:folio collection of his Works.
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252:Lady Windsore (wife of the 6th
249:Lady Catherine Windsor: Camilla
187:for the Countess of Bedford by
16:17th century play by Ben Jonson
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440:, vol. 6 (Oxford, 2015), p. 7.
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911:Pleasure Reconciled to Virtue
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1068:Sons of Ben (literary group)
778:The Entertainment at Althorp
671:Epicœne, or The Silent Woman
524:Ben Jonson: Complete Masques
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1063:English Renaissance theatre
820:The Hue and Cry After Cupid
629:Every Man out of His Humour
183:Drawing for the costume of
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149:The Hue and Cry After Cupid
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1009:Love's Welcome at Bolsover
233:The Countess of Montgomery
216:The Countess of Huntingdon
1094:English Renaissance plays
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946:The Gypsies Metamorphosed
869:The Irish Masque at Court
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246:Lady Anne Winter: Candace
239:Viscountess of Cranbourne
200:Anne of Denmark: Bel-Anna
841:Oberon, the Faery Prince
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918:For the Honour of Wales
883:The Golden Age Restored
785:The Masque of Blackness
685:Catiline His Conspiracy
622:Every Man in His Humour
393:(London, 1995), p. 161.
222:The Countess of Bedford
204:The Countess of Arundel
115:The Masque of Blackness
764:The Coronation Triumph
727:Rollo Duke of Normandy
517:The Elizabethan Stage.
465:Gallery, Tate (1995).
380:(London, 1955), p. 12.
192:
1089:Masques by Ben Jonson
897:The Vision of Delight
890:Christmas, His Masque
413:(Yale, 2003), p. 224.
262:Countess of Worcester
228:The Countess of Essex
210:The Countess of Derby
182:
953:The Masque of Augurs
813:The Masque of Queens
806:The Masque of Beauty
538:The Masque of Queens
522:Orgel, Stephen, ed.
321:The Masque of Queens
309:Stationers' Register
301:The Masque of Queens
154:The Masque of Queens
125:The Masque of Beauty
699:The Devil Is an Ass
608:The Case is Altered
706:The Staple of News
508:General references
353:, pp. 187–99.
319:printing in 1609,
305:Crown Prince Henry
268:Lady Anne Clifford
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161:machina versatilis
108:Masque development
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1075:
1058:Ben Jonson folios
1027:On My First Sonne
939:Pan's Anniversary
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741:Mortimer His Fall
720:The Magnetic Lady
499:978-0-19-151598-9
478:978-1-85437-169-0
92:composed for the
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734:The Sad Shepherd
692:Bartholomew Fair
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636:Cynthia's Revels
615:The Isle of Dogs
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471:. Tate Gallery.
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224:: Penthesilea
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1041:To Penshurst
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713:The New Inn
459:Works cited
403:Karen Hearn
285:witch craze
189:Inigo Jones
185:Penthesilea
169:Inigo Jones
165:Jewel House
102:anti-masque
57:August 2011
1099:1609 plays
1083:Categories
745:(fragment)
581:Ben Jonson
338:References
270:: Berenice
235:: Thomyris
134:Queen Anne
90:Ben Jonson
49:footnoting
995:Chloridia
643:Poetaster
212:: Zenobia
1034:To Celia
792:Hymenaei
258:the Earl
175:The show
139:Hymenaei
45:citation
1051:Related
755:Masques
664:Volpone
86:masques
496:
475:
317:quarto
122:) and
1019:Poems
593:Plays
585:works
296:Texts
88:that
494:ISBN
473:ISBN
325:1616
260:and
144:1606
130:1608
120:1605
47:and
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