The Masque of Queens
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The Masque of Queens, Celebrated From the House of Fame is one of the earlier works in the series of masques that Ben Jonson composed for the House of Stuart in the early seventeenth century. It marks a notable development in the masque form, in that Jonson defines and elaborates the anti-masque for the first time in its pages.
The Masque of Queens was performed at Whitehall on February 2, 1609, and printed soon after by the command of Crown Prince Henry, with a dedication to the Crown Prince. The work was entered into the Stationers' Register on Feb. 22, 1609, and the edition that followed was printed by Nicholas Okes for the booksellers Richard Bonian and Henry Whalley.
In his preceding masques, Jonson had been experimenting with elements of sharper opposition and variety: The Masque of Blackness (1605) and The Masque of Beauty (1608), both written for and featuring Queen Anne, form a contrasting and complimentary pairing; Hymenaei (1606) contained two contrasting sets of masquers; and The Hue and Cry After Cupid (1608) featured twelve boy torchbearers "in antic attire." In the case of The Masque of Queens, Jonson writes that Queen Anne "had commanded me to think on some dance or show that might precede hers and have the place of a foil or false masque...." Jonson responded with a dance for a dozen female figures "in the habit of hags or witches...the opposites to good Fame...," to supply "a spectacle of strangeness...."
A mistress witch and her eleven disciples all dance, then each witch testifies her crimes and outrages to her mistress, before they fall once again into "a magical dance, full of preposterous change and gesticulation." Their antics are interrupted and dispelled by the by the intrusion of the masque proper: the House of Fame is displayed, with twelve virtuous Queens, their apotheosis being "Bel-Anna." (In addition to Anne, the roles of the twelve were filled by the Countesses of Arundel, Bedford, Derby, Essex, Huntington, and Montgomery, the Vicountess of Cranbourne, the Ladies Anne Clifford, Elizabeth Guilford, and Anne Winter, and the Lady Windsore.)
Jonson's use of witches in the anti-masque is an interesting commentary on the witch craze of the era. More generally, the invention of the anti-masque shaped the art form of th masque for the remainder of its life. Some modern critics, approaching the masque from a more skeptical if not jaundiced perspective than that of its creators and participants, see the anti-masque as a subversion of the surface intent of the performance. ("But this antimasque quite eclipses its masque. The queens are mere wax-works after the witches"—the verdict of The Cambridge History of English and American Literature.) In the end, the disorderly and disruptive forces of the anti-masque are always driven off by a re-established order (which is always "the established order"); but that order is presented in a hyper-idealized style that contrasts sharply with the flawed and limited humans who are enacting the parts (and the courtiers and other dependents in the audience know those flaws and limits all too well). In this interpretation, the anti-masque undermines the intention of the performance, giving it an effect opposite to the one intended. In the anti-masque, the Stuarts are, perhaps, unwittingly subverting their authority.
(In this and the masques that followed at Court, the characters in the masque proper were generally "personated" by members of the Court; but the undignified anti-masque roles were filled by professional actors from the organized companies.)
After its initial quarto printing in 1609, The Masque of Queens was one of the fourteen masques included by Jonson in the 1616 folio collection of his Works.
[edit] References
- Chambers, E. K. The Elizabethan Stage. 4 Volumes, Oxford, Clarendon Press, 1923.
- Orgel, Stephen, ed. Ben Jonson: Complete Masques. New Haven, Yale University Press, 1969.
