The Masque Criticism
The masque was a significant form of courtly entertainment in sixteenth and seventeenth-century England, known for its opulence and artistic integration of singing, dancing, poetry, and acting. Originating in courtly dances and spectacles, masques evolved into lavish performances celebrating noble occasions, often featuring allegorical representations of court figures as deities, as discussed by Stephen Orgel. The masque became particularly refined during the reigns of James I and Charles I, with Ben Jonson and Inigo Jones at the helm, who transformed it into a didactic and visually spectacular art form. Jonson's introduction of the antimasque, a contrasting element depicting chaos, provided a counterbalance to the order and grandeur of the masque, highlighting the moral and political lessons intended for the monarch, as explored by Carol Marsh-Lockett and Lesley Mickel.
Despite their artistic achievements, masques were criticized by Puritans for their extravagance and portrayal of monarchs as gods. They were seen by some historians as propaganda supporting absolutist rulers like James I and Charles I. However, modern critics view them as complex cultural artifacts reflecting the sociopolitical tensions of their time. David Norbrook notes their incorporation of religious disputes during the Jacobean and Caroline eras, while Yumna Siddiqi and Marion Wynne-Davies examine their depiction of gender and race dynamics. Ultimately, the masques are seen as intricate reflections of their age, embodying the tensions between idealized and actual social orders.
Contents
- Representative Works
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Criticism: Development Of The Masque
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The Masque
(summary)
In the following essay, Orgel, a noted scholar of the masque, places the genre in the context of the history of literature, outlining its distinctive characteristics and development.
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The Reformation of the Masque
(summary)
In the essay below, Norbrook outlines the efforts made to reform Jacobean and Caroline masques in light of Protestant beliefs.
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Ben Jonson's Haddington Masque and The Masque of Queenes: Stuart England and the Notion of Order
(summary)
In the following essay, Marsh-Lockett examines Jonson's efforts to educate King James on the tenets of successful monarchy through The Haddington Masque and The Masque of Queenes.
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Comus: Milton's Re-Formation of the Masque
(summary)
In the essay below, Hubbell considers Milton's efforts to shift the nature and focus of the masque in his Comus.
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Ben Jonson's Antimasques: A History of Growth and Decline
(summary)
In the following excerpt from a larger study of Jonson's antimasques, Mickel provides an abstract of his argument that Jonson's antimasque is a complex, dialectical response to political and cultural events and thus helps to enforce the ideal of the masque.
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The Masque
(summary)
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Criticism: Sources And Structure
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‘Those Beautiful Characters of Sense’: Classical Deities and Court Masque
(summary)
In the following essay, Dundas analyzes the use of figures of classical myth in masques, arguing that they added an aspect of beauty and enrichment to the performances.
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The English Masque and the Functions of Comedy
(summary)
In the essay below, Waith compares late sixteenth and early seventeenth century masques to earlier comedies, arguing that the masque assumed many characteristics of the comedy.
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The Masks of Cupid and Death
(summary)
In the following essay, Dundas discusses James Shirley's masque Cupid and Death in relation to other Renaissance variations on the theme of love and death.
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Court and Country: The Masque as Sociopolitical Subtext
(summary)
In the essay below, Palmer analyzes Yorkshire historical documents to argue that the link between court and country masque performances were greater than expected, with landed gentry using performances as a means of social advancement.
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The Masque and the Marvelous
(summary)
In the following excerpt, Platt contrasts the rational literary aspects of the masque as embodied in Ben Jonson's work with the fantastic and visual qualities of Inigo Jones's contributions.
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The Masque
(summary)
In the following excerpt, Raylor discusses the function and sources of the Jacobean masque by examining the specifics of Viscount Doncaster's presentation of The Essex House Masque for King James and the French Ambassador.
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‘Those Beautiful Characters of Sense’: Classical Deities and Court Masque
(summary)
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Criticism: Race And Gender In The Masque
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'Man-maid, begone!': Women in Masque
(summary)
In the following essay, Gossett explores the role of women in the masque, arguing that the views of royalty had a profound influence on how women were portrayed.
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Dark Incontinents: The Discourses of Race and Gender in Three Renaissance Masques
(summary)
In the essay below, Siddiqi considers the treatment of gender and race in two court masques by Ben Jonson and a masque written for London merchants by Thomas Middleton.
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The Queen's Masque: Renaissance Women and the Seventeenth-Century Court Masque
(summary)
In the following essay, Wynne-Davies discusses gender politics and the masque of the Jacobean court, examining the masques written for Queen Anne and those written by Lady Mary Wroth.
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From Woman Warrior to Warrior Reasoner: Lady Alice and Intellectual Freedom in A Mask
(summary)
In the essay below, Parisi examines the character Lady Alice from Milton's Comus and discusses the portrayal of women's ability to reason.
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‘Like One in a Gay Masque’: The Sidney Cousins in the Theaters of Court and Country
(summary)
In the following essay, Waller, a noted scholar on Jacobean playwright Mary Wroth, offers a detailed analysis of the gender politics in her work.
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'Man-maid, begone!': Women in Masque
(summary)
- Further Reading