221:, while the second carried singers "who struck picturesque poses in costumes representing the celestial bodies in harmonious motion." Then came the actors of the masque; the boys in one anti-masque were costumed as birds. The principal masquers came last, in four chariots, each drawn by four horses; the horses were decked in silver and crimson cloths and white and red feathers, and each chariot bore two "flaming huge flambeaux" on its sides. (Each of the Inns of Court furnished twenty dozen torches and 15 flambeaux for the procession.) Charles and Henrietta Maria, watching this from Whitehall, were so impressed that they had the parade turn around and pass them again.
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on 13 February. The cost for the show was extraordinary: £1000 for the music; a hundred costumes at £100 each. The total cost of the extravaganza was, according to
Whitelocke, £21,000, all paid by the Inns of Court (at a time when a squire might earn £100 in a year). By some accounts (including that
160:. Musical aspects of the performance were managed for the Inns of Court by Whitelocke, the jurist and Parliamentarian, who was also an accomplished musician. Documents pertaining to the masque were preserved among Whitelocke's unpublished papers. As a result, more is known about the production of
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The theme of the masque was relatively simple and straightforward: the spirits of Peace, Law, and
Justice descend to honor the English monarchs. Yet the expression is complex, with seven changes of scene; at one point the moon sets in an open landscape and "Amphiluche," the harbinger of morning,
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The masque featured the personifications standard to the form, including
Opinion, Confidence, Fancy, Jollity, Novelty, and others; also, generic tradesmen, a Tailor, Carpenter, Painter, Feathermaker's Wife, Embroiderer's Wife, etc. The costumes were rich and fantastic: "Fancy in a suit of
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eras – including "a cast list, the names and voice parts of all the singers, the names and instruments of all the musicians, diagrams with musicians' names for soloists and chorus positions during the mask, a cue sheet for the serious part of the mask, names of musicians who played at the
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to
Whitehall. This parade was led by the King's Marshall and his men bearing torches, who were followed by 100 members of the Inns of Court, 25 from each of the four Inns, dressed in gold and silver lace. Then came two music chariots; the first held eight lutenists dressed as priests and
233:, with scarfs and napkins, his hat fashioned like a cone...." Some of the costumes were "wrought as thick with silver spangles as they could be placed." At one point in the masque, a windmill, a knight and his squire entered – an obvious allusion to
239:— and engaged in a mock combat. Shirley deliberately included elements in the masque, including "two wanton gamesters," that were precisely the type of elements criticized by Prynne in
144:. The manuscript provides a cast list that names 184 of the participants in the procession (among a total of 882), along with details on the distribution of equipment and props.
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was another gentleman boarder). Shirley produced an acceptable text – though he was bold enough to offer some tactfully-phrased advice to his king.
109:, on the date it was acted, 3 February 1634. (Some sources give the date for the masque as 1633, failing to compensate for the difference in
85:. He was not a law student or a lawyer; rather, he was a gentleman boarder, an arrangement preferred by some literary figures of the time. (
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124:. The quarto exists in three impressions, with slight differences between the first and second and greater changes in the third. (
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several-colored feathers, hooded, a pair of bat's wings on his shoulders...Jollity in a flame-colored suit, but tricked like a
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The Later
Jacobean and Caroline Dramatists: A Survey and Bibliography of Recent Studies in English Renaissance Drama.
188:, has written extensively on the subject. Musicologist Andrew Sabol also published some of the relevant documents.)
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78:, the masque was the Inns' signal of their total rejection of any connection with Prynne's book or his views.
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Lefkowitz, Murray. "The
Longleat Papers of Bulstrode Whitelocke: New Light on Shirley's
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Queen
Henrietta liked the masque so much that she arranged for a repeat performance at
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Inigo: The
Troubled Life of Inigo Jones, Architect of the English Renaissance.
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A manuscript relating to the masque also exists, now in the collection of the
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wrote an article titled "The
Triumph of Peace: A Bibliographer's Nightmare".)
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184:(Murray Lefkowitz, the musicologist who discovered the masque papers at
64:(himself an Inns of Court man) had dedicated his anti-theatre diatribe
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Shirley was chosen to write the masque because he was a member of
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and published the same year. The production was designed by
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rises in turn. There are no fewer than eight anti-masques.
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on 24 January 1634 and was licensed for performance by Sir
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by members of the Inns of Court and was seen by the King,
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Images and
Cultures of Law in Early Modern England.
283:John R. Elliott Jr., "The Folger Manuscript of the
287:Precession", in Beal and Griffiths, pp. 193–215:
385:Lincoln, NE, University of Nebraska Press, 1978.
255:was the most spectacular masque of the period.
381:Logan, Terence P., and Denzell S. Smith, eds.
116:The work was published in the same year, in a
52:The masque was lavishly sponsored by the four
369:Journal of the American Musicological Society
204:, and the Queen. The masquers started out at
8:
392:Cambridge, Cambridge University Press, 2004.
351:English Manuscript Studies, 1100–1700.
56:, through a political and social motive. In
378:. London, Routledge & Kegan Paul, 1960.
353:Toronto, University of Toronto Press, 1992.
120:printed by John Norton for the bookseller
152:The music for the masque was composed by
349:Beal, Peter, and Jeremy Griffiths, eds.
360:London, Headline Book Publishing, 2003.
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164:than perhaps any other masque of the
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74:was perceived as insulting to Queen
208:, then the London residence of the
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397:The King's Peace, 1637–1641
274:, 5, series 1 (1946), pp. 113–26.
97:The masque was entered into the
16:Masque (play) by James Shirley
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111:Old Style and New Style dates
60:the Puritan controversialist
289:HMC 5th Report: Cholmondeley
142:item #25 in Folger MS. Z.e.1
32:, "invented and written" by
300:Logan and Smith, pp. 157–8.
454:
371:18 (1965), pp. 42–60.
138:Folger Shakespeare Library
36:, performed on 3 February
438:Henrietta Maria of France
413:English Renaissance plays
428:Masques by James Shirley
399:. London, Collins, 1955.
291:(London, 1876), p. 355.
248:Merchant Taylors' Hall
327:Raffield, pp. 217–18.
251:of Shirley himself),
433:Charles I of England
365:The Triumph of Peace
253:The Triumph of Peace
162:The Triumph of Peace
158:Bulstrode Whitelocke
107:Master of the Revels
99:Stationers' Register
21:The Triumph of Peace
374:Lefkowitz, Murray.
318:Leapman, pp. 300–2.
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70:to the Inns; since
356:Leapman, Michael.
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214:the Strand
132:Manuscript
126:W. W. Greg
83:Gray's Inn
206:Ely House
202:Charles I
87:John Ford
186:Longleat
26:Caroline
423:Masques
179:Cockpit
219:Sybils
170:Stuart
118:quarto
105:, the
30:masque
24:was a
259:Notes
166:Tudor
148:Music
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