Masque of Amazons, A: Difference between revisions
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==Possible Narrative and Dramatic Sources or Analogues== | ==Possible Narrative and Dramatic Sources or Analogues== | ||
Of the many references to the Amazons in Elizabethan print culture, perhaps the most immediate, | Of the many references to the Amazons in Elizabethan print culture, perhaps the most immediate, assessible, and thorough rendering of the Amazon history was [http://quod.lib.umich.edu/e/eebo/A08840.0001.001/1:6.1?c=eebo;c=eebo2;g=eebogroup;rgn=div2;view=fulltext;xc=1;q1=Palace+of+Pleasure story of the Amazons] in the Second Tome of William Painter's [http://name.umdl.umich.edu/A08840.0001.001 Palace of Pleasure] (1567). | ||
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Revision as of 18:54, 2 December 2016
Anon. (1579) Also associated with A Masque of Knights.
Historical Records
'A Maske of Amazons' is listed in the Revels accounts of 1578/9 as one of the masques performed 'before her maiestie the ffrench Imbassadour being presente the sonday night after Twelfdaie [11 January] whereof one was' (Feuillerat 286, 287).
Theatrical Provenance
English Court at Richmond.
Probable Genre(s)
Masque.
Possible Narrative and Dramatic Sources or Analogues
Of the many references to the Amazons in Elizabethan print culture, perhaps the most immediate, assessible, and thorough rendering of the Amazon history was story of the Amazons in the Second Tome of William Painter's Palace of Pleasure (1567).
References to the Play
In a letter dated 15 January 1579, Bernadino de Mendoza, the Spanish ambassador in London, writes to Gabriel de Zayas about a series of state issues and international intrigues. Mendoza mentions in passing a recent grand ball at court during which there was 'an entertainment in imitation of a tournament, between six ladies and a like number of gentlemen, who surrendered to them' (see 'Simancas: January 1579', in Calendar of State Papers, Spain).
Critical Commentary
The play was performed for the French ambassador. Sibley notes that the resident French ambassador was Mauvissiere, but also points to Feuillerat's belief (n287, 4) that the reference was to Simier, the Duke of Alencon's envoy (Sibley 183).
For What It's Worth
John Jowett connects this court masque with the masque scene in Timon of Athens, specifically the possible emblematic motifs suggested by the stage directions in Timon (13).
Works Cited
Site created and maintained by Thomas Dabbs, Aoyama Gakuin University, Tokyo; updated 30 November 2016.