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featured remarkable lighting effects. This was entirely consistent with what Jones had achieved in the masque form over the previous three decades; contemporary accounts of
Jacobean and Caroline Court masques often stress the sheer dazzling abundance of light in the productions. In a world limited to
76:
Modern critics have disputed how much of the masque's text was actually generated by
Davenant. The current view is that "Davenant was responsible for the songs, and perhaps for the prose descriptions, but the action and argument were plagiarized from Italian sources by Inigo Jones." This was in
137:, the Nine wander in search of a new home, finally finding it in Britain, "the garden of Britanides," with a welcoming king and queen. The production was unusual in that the comic and grotesque figures in the anti-masques were played by "gentlemen of quality," including the
185:.) Innovative lighting effects continued through the work: it concluded with an "aerial ballet" in which Henrietta Maria, portraying the "Earthly Deity," descended from the clouds in "a glory of rays, expressing her to be the queen of brightness."
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picked up from that point, opening with a moonlit forest scene with deep shadows of trees and artificial moonlight glinting off a "calm river." The anti-masques, featuring thieves, watchmen and various dream figures, are set in a City of Sleep.
252:. One of his songs for the work, called the Song of Night (beginning with the line "In wet and cloudy mists I slowly rise"), was something of a popular hit in its era; its verses were often reprinted.
228:
Davenant's name is not mentioned in the first edition, while Jones's is prominent. Early scholars and critics, confused by similar titles in the historical records, actually tried to attribute
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candlelight and firelight, the spectacles of the masques showed audiences a brilliance of illumination they saw nowhere else. The season's previous masque,
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155:), the roles in the anti-masque were filled by professional actors, and no aristocrat would have lowered himself to such an activity.
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The sheer abundance of illumination forced a change of venue for the masque's performance. Masques were usually staged in the
348:
237:
189:
387:
The Later
Jacobean and Caroline Dramatists: A Survey and Bibliography of Recent Studies in English Renaissance Drama.
114:
has been called "in terms of poetry and literary ideas...the most incoherent and meaningless of the masques...."
53:
226:
Luminalia or the
Festivall of Light Personated in a Masque at Court by the Queenes Majestie and her Ladies.
145:. This was a major departure from earlier practice: when Jonson first introduced the anti-masque in his
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436:
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has been interpreted as a work of
Catholic propaganda, in which the Queen of Night is the Protestant
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The quarto is dated "1637," since prior to 1751 the
English started the New Year on 25 March; see
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ended; in their long-running contest of wills and egos, Jones had won and Jonson had lost. With
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431:
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Jones's influence became paramount. Jones, however, was not a literary man; the text of
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Michael V. DePorte, in Logan and Smith, p. 203. Those sources include
Francesco Cini's
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Catholicism, Controversy, and the
English Literary Imagination, 1558–1660.
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Inigo: The
Troubled Life of Inigo Jones, Architect of the English Renaissance.
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The text of the masque was published shortly after its 1638 performance, in a
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79:
64:, it was one of the last and most spectacular of the masques staged at the
46:
34:
397:
The
Authentic Shakespeare, and Other Problems of the Early Modern Stage.
87:, Jones's contentious, quarter-century-long masquing collaboration with
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keeping with Jones's primacy in the courtly masque in the 1630s. After
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murals on the ceiling there would be damaged by candle soot.
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Davenant's-or-Jones's story for the masque involves the
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Music in the English Courtly Masque, 1604–1640.
389:Lincoln, NE, University of Nebraska Press, 1978.
385:Logan, Terence P., and Denzell S. Smith, eds.
208:detractors dubbed "the Queen's dancing barn."
366:Drama at the Courts of Queen Henrietta Maria.
8:
406:Cambridge, Cambridge University Press, 1999.
375:Cambridge, Cambridge University press, 2006.
368:Cambridge, Cambridge University Press, 2006.
293:Erica Veevers, quoted in Britland, p. 169.
240:, though both men were long dead by 1638.
220:printed by J. Haviland for the bookseller
204:was moved to a temporary structure, which
248:The music for the masque was composed by
382:London, Headline Book Publishing, 2003.
261:
373:Playing Spaces in Early Women's Drama.
172:had ended with the fall of night, and
129:invaders, and then from Italy by the
7:
18:Luminalia or The Festival of Light
14:
196:—but it was feared that the new
413:Oxford, Clarendon Press, 1996.
1:
349:Old Style and New Style dates
56:and her ladies in waiting on
447:Masques by William Davenant
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278:Ballet du grand Demogorgon
462:Henrietta Maria of France
457:English Renaissance plays
452:Operas by Nicholas Lanier
224:, with the fulsome title
399:London, Routledge, 2002.
163:As its title indicates,
125:. Driven from Greece by
427:English-language operas
170:Britannia Triumphans,
52:. Performed by Queen
284:); Britland, p. 169.
148:The Masque of Queens
338:Leapman, pp. 321–2.
329:Findlay, pp. 166–7.
33:", with an English
378:Leapman, Michael.
143:Earl of Devonshire
93:Aurelian Townshend
371:Findlay, Alison.
364:Britland, Karen.
320:Shell, pp. 150–1.
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194:Whitehall Palace
190:Banqueting House
101:Albion's Triumph
39:William Davenant
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437:1638 operas
276:), and the
212:Publication
43:Inigo Jones
21:was a late
442:1638 plays
421:Categories
89:Ben Jonson
230:Luminalia
202:Luminalia
179:Luminalia
174:Luminalia
165:Luminalia
112:Luminalia
99:masques,
80:Chloridia
141:and the
127:Thracian
47:composer
35:libretto
23:Caroline
359:Sources
206:Puritan
131:Vandals
68:Court.
37:by Sir
432:Operas
218:quarto
198:Rubens
66:Stuart
27:masque
256:Notes
244:Music
135:Goths
119:Muses
282:1633
274:1608
236:and
153:1609
133:and
103:and
97:1632
85:1631
72:Text
62:1638
29:or "
25:era
232:to
192:at
95:'s
83:in
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