192:, and Denmark House. And the first of the masque's three dances is performed by, of all things, five different-coloured Starches. To appropriate music – "a light fantastic air" and "a ridiculous strain" – five figures representing coloured starches, white, blue, yellow, green and red, "come dancing in." After their dance, they quarrel; White demands precedence over the others, but they resist. As Yellow puts it, "I am as stiff i' my opinion / As any Starch amongst you."
121:. The standard dichotomy of main plot and subplot does not apply to their masque; in this work, Rowley was mainly responsible for the first half of the work, the first 471 lines, and Middleton the second half, 515 lines. The break between the two writers' shares comes just after the masque's oddest and most original feature, the introduction of the personifications of five coloured starches.
231:) sentenced Turner to death, he specifically instructed that she should die in yellow bands: "as she was the person who had brought yellow starched ruffs into vogue, she should be hanged in that dress, that the same might end in shame and detestation." According to at least one report, the hangman also wore yellow bands as he put Turner to death.
181:. There is a King and a Lawyer, a "Land-Captain" and a "Sea-Captain," and the Devil as well. The second half of the work, Middleton's portion, is dominated by the adventures of Deceit as he interacts with the other characters. Eventually Deceit is defeated by the Lawyer, and the Devil is defeated by the Church.
296:
is unique in that it refers not only to white and yellow starch but to red, green, and blue starch too. Were these other colours worn in ruffs and cuffs in the years around 1620? The text of the masque suggests this was so, though supporting evidence is thin.
207:
started a new fashion. It had long been standard in
Elizabethan and Jacobean clothing to wear starched white ruffs and cuffs, commonly called "bands." The famous and often-reproduced portrait of actor Edward Alleyn (seen
156:
Despite his strong familial connection, James was unwilling to take an active part in the
Protestant cause, much to the distress of many of his subjects. The masque had no discernible success in swaying James's position.
195:
The
Starches are examples of what Jupiter calls the "Deceit and Pride" of the age, characterised by "The frenzy of apparel," "masculine painting," and "Vain-glory, fashion, humour, and such toys."
212:) provides a good view of the prevailing style. Mrs. Turner was the first person in England to dye these white bands yellow. The fashion became famous and notorious when Turner, an associate of
304:, Act IV scene 1, The Devil claims that "I was first father for this yellow Sterch, / Which did succeed the blew...." The color sequence, blue then yellow, is the same as given by Rowley in
87:
117:
In their other collaborations, Middleton takes primary responsibility for the main plot, and Rowley handles subplot materials – usually comic, but also serious, as in
90:
Edward Wright. The title page assigns authorship to
Middleton and Rowley; it states that the work was performed "diverse times" by Rowley's acting company,
418:
98:
109:. It also includes an address to the reader signed by "Simplicity," a Prologue, and a list of "The Figures and Persons" in the masque.
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The masque also contains unusual characters; the
Induction is a conversation among three personified English royal palaces,
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and a denizen of the
Jacobean demimonde, was executed on 15 November 1615 for her role in the murder of Sir
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The masque features the mythological divinities and personifications that are standard in the masque genre:
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79:
571:
459:
234:
References to yellow bands and yellow starch recur in plays of the 1615–18 era, by
Middleton and others –
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702:
651:
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67:. Their only masque is one of the stranger and more original literary products of their generation.
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Middleton and Rowley conducted one of the most interesting collaborative efforts in
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The fashion for yellow bands lasted in Court circles until the mid-1620s.
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had inadvertently started the war when they had accepted the crown of
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137:, to move away from his pacifistic foreign policy. In 1620, the
40:, first published in 1620. It was likely acted on 4 March 1620 (
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133:. The intent of the masque was to influence his father, King
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A Courtly Masque; the Device called, the World tost at Tennis
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was in its first phase; James daughter and
Charles's sister
356:, Arthur F. Kinney, ed., London, Blackwell, 2002; p. 510.
203:
In the second decade of the seventeenth century, Mistress
369:, Cambridge, Cambridge University Press, 2000; pp. 59–86.
343:, Cambridge, Cambridge University Press, 1975; pp. 203–4.
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and his wife Mary Lady
Effingham, the daughter of Sir
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82:on 4 July 1620, and published later that year in a
97:The first edition bears Middleton's dedication to
367:Renaissance Clothing and the Materials of Memory
173:are present, as are Time and Deceit, the nine
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8:
227:Sir Edward Coke (in traditional white bands
55:; together they produced significant works,
380:Literary and Historical Memorials of London
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365:Ann Rosalind Jones and Peter Stallybrass,
382:, London, Richard Bentley, 1847; p. 17.
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352:John Jowett, "Thomas Middleton," in:
7:
86:printed by George Purslowe for the
695:Microcynicon: Six Snarling Satires
99:Charles Howard, Baron of Effingham
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292:, also contain such references.)
354:A Companion to Renaissance Drama
16:Play written by Thomas Middleton
129:The masque was commissioned by
580:More Dissemblers Besides Women
548:No Wit, No Help Like a Woman's
341:The Canon of Middleton's Plays
289:A New Trick to Cheat the Devil
249:More Dissemblers Besides Women
1:
391:Jones and Stallybrass, p. 74.
147:Frederick V, Elector Palatine
468:A Trick to Catch the Old One
302:New Trick to Cheat the Devil
280:'s plays of uncertain date,
556:The Second Maiden's Tragedy
770:
711:The World Tossed at Tennis
564:A Chaste Maid in Cheapside
294:The World Tossed at Tennis
21:The World Tossed at Tennis
749:Plays by Thomas Middleton
734:English Renaissance plays
636:Anything for a Quiet Life
516:All's Well That Ends Well
328:Times Literary Supplement
53:English Renaissance drama
754:Plays by William Rowley
476:A Mad World, My Masters
572:Wit at Several Weapons
508:The Revenger's Tragedy
306:World Tossed at Tennis
703:The Triumphs of Truth
620:Hengist, King of Kent
273:Christmas, His Masque
78:was entered into the
378:John Heneage Jesse,
261:The Queen of Corinth
107:Lord Mayor of London
92:Prince Charles's Men
80:Stationers' Register
644:Measure for Measure
484:A Yorkshire Tragedy
267:The Devil is an Ass
628:Women Beware Women
532:The Bloody Banquet
524:Your Five Gallants
330:, 8 December 1921.
225:Lord Chief Justice
199:Why five starches?
143:Princess Elizabeth
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668:The Spanish Gypsy
283:The City Nightcap
139:Thirty Years' War
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647:(1621; revision)
540:The Roaring Girl
452:The Honest Whore
429:Thomas Middleton
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300:(In Davenport's
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145:and her husband
103:William Cockayne
34:Thomas Middleton
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660:The Nice Valour
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58:The Changeling
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32:composed by
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612:The Old Law
500:The Puritan
444:The Phoenix
205:Anne Turner
186:St. James's
125:The message
71:Publication
739:1620 plays
728:Categories
315:References
161:The masque
113:Authorship
615:(1618–19)
596:The Witch
591:(1615–16)
588:The Widow
427:Works by
255:Albumazar
243:The Widow
153:in 1618.
88:stationer
42:new style
535:(1608–9)
519:(1607-9)
495:(1605-6)
447:(1603–4)
190:Richmond
177:and the
26:Jacobean
744:Masques
167:Jupiter
151:Bohemia
135:James I
679:(1624)
671:(1623)
663:(1622)
655:(1622)
639:(1621)
631:(1621)
623:(1620)
607:(1616)
599:(1616)
583:(1614)
575:(1613)
567:(1613)
559:(1611)
551:(1611)
543:(1611)
527:(1607)
511:(1606)
503:(1606)
487:(1605)
479:(1605)
471:(1605)
463:(1604)
455:(1604)
270:, and
84:quarto
30:masque
687:Other
436:Plays
223:When
175:Muses
44:) at
24:is a
286:and
229:here
210:here
169:and
105:, a
61:and
36:and
28:era
308:.)
276:. (
730::
264:,
258:,
252:,
246:,
240:,
220:.
188:,
94:.
48:.
420:e
413:t
406:v
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