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| "'''Arcades'''" is a ] written by ] and performed on 4 May 1634. The piece was written to celebrate the character of Alice Spencer, the Countess Dowager of Darby, widow of ], during her 75th birthday. The masque distinguishes Spencer as having a greater far superior to other noble women. The piece served as a basis for Milton's later masque, '']''. | |||
| {{wikify|date=December 2008}} | |||
| "'''Arcades'''" is a poem by ]. | |||
| ==Background== | ==Background== | ||
| Spencer's family invited Milton to write a masque for a celebration to honor her on her 75th birthday, 4 May 1634. This arrangement was made possible through the intervention of ], the Earl's music tutor for his children,<ref>Shawcross 1993 p. 28</ref> and friend to Milton's father.<ref>Lewalski 2003 p. 3</ref> Milton wrote ''Arcades'' and the piece was performed at the Harefield estate. This masque established many themes and ideas later developed in his other masque, ''[[Comus Comus''.<ref>Lewalski 2003 pp. 7–8</ref> | |||
| ==Masque== | ==Masque== | ||
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| The masque portrays a powerful female character at the center of the plot. Although he does not say that she is part the surrounding social context, especially one that could be seen in a negative light, she does have direct connections to classical female divinities, such as Cybele and Latona, who have established divine families. The female figure is not only a mother of her family, she is also mother of a greater version of Arcady. In her position, the people and spirits of the land honor her for her greatness.<ref>Revard 1997 pp. 154–155</ref> | The masque portrays a powerful female character at the center of the plot. Although he does not say that she is part the surrounding social context, especially one that could be seen in a negative light, she does have direct connections to classical female divinities, such as Cybele and Latona, who have established divine families. The female figure is not only a mother of her family, she is also mother of a greater version of Arcady. In her position, the people and spirits of the land honor her for her greatness.<ref>Revard 1997 pp. 154–155</ref> | ||
| ==Critical response== | |||
| ==Notes== | ==Notes== | ||
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| * Lewalski, Barbara. "Genre" in ''A Companion to Milton''. Ed. Thomas Corns. Oxford: Blackwell Publishing, 2003. | * Lewalski, Barbara. "Genre" in ''A Companion to Milton''. Ed. Thomas Corns. Oxford: Blackwell Publishing, 2003. | ||
| * Revard, Stella. ''Milton and the Tangles of Neaera's Hair''. Columbia: University of Missouri Press, 1997. | * Revard, Stella. ''Milton and the Tangles of Neaera's Hair''. Columbia: University of Missouri Press, 1997. | ||
| * Shawcross, John. ''John Milton: The Self and the World''. Lexington: University Press of Kentucky, 1993. | |||
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Revision as of 20:56, 7 December 2008
"Arcades" is a masque written by John Milton and performed on 4 May 1634. The piece was written to celebrate the character of Alice Spencer, the Countess Dowager of Darby, widow of Ferdinando Stanley, 5th Earl of Derby, during her 75th birthday. The masque distinguishes Spencer as having a greater far superior to other noble women. The piece served as a basis for Milton's later masque, Comus.
Background
Spencer's family invited Milton to write a masque for a celebration to honor her on her 75th birthday, 4 May 1634. This arrangement was made possible through the intervention of Henry Lawes, the Earl's music tutor for his children, and friend to Milton's father. Milton wrote Arcades and the piece was performed at the Harefield estate. This masque established many themes and ideas later developed in his other masque, [[Comus Comus.
Masque
The masque begins by praising the countess and describes her in royal terms during the first song:
- Mark what radiant state she spreads,
- In circle round her shining throne
- Shooting her beams like silver threads:
- this, this is she alone,
- Sitting like a gooddess bright,
- In the center of her light (lines 14–19)
Genius continues this idea and emphasizes that she was:
- the great mistress of yong princely shrine,
- Whom with low reverence I adore as mine, (lines 36–37)
According to Genius, sirens, similar to the muses, create a music that fills the senses:
- But else in deep of night when drowsiness
- Hath locked up mortal sense, then listen I
- To the celestial sirens' harmony (lines 61–63)
Genius describes how he, unlike mortals, is able to hear the song of the sirens and the song compelled him to an innocent rapture along with the Fates who are also seduced by the siren song:
- Such sweet compulsion doth in music lie,
- To lull the daughters of Necessity,
- And keep unsteady Nature to her law,
- and the low world in measured motion draw
- After the heavenly tune, which none can hear
- Of human mold with gross unpurged ear;
- And yet such music worthiest were to blaze
- The peerless height of her immortal praise, (lines 68–75)
Her magnificance is further distinguished from any others during the second song:
- Such a rural queen
- All Arcadia hath not seen. (lines 94–95)
This is compounded by the third song declaring that other queens are below her status and concluding the masque:
- Here ye shall have greater grace,
- To serve the Lady of this place.
- Though Syrinx your Pan's mistress were,
- Yet Syrinx well might wait on her.
- Such a rural queen
- All Arcadia hath not seen. (lines 104–109)
Themes
Aracades sough to draw upon pastoral elements and mocked the pastoral traditions of Queen Caroline. Instead of following traditional themes inherent in the genre that welcome guests, the guest characters in the masque seek to praise the Countess who is guided by the spirit Genius. Genius is not a unique figure in Miltonic poetry and he is similar to a demon or Thyrsis in Comus because he relies on divine music for an earthly purpose.
The masque portrays a powerful female character at the center of the plot. Although he does not say that she is part the surrounding social context, especially one that could be seen in a negative light, she does have direct connections to classical female divinities, such as Cybele and Latona, who have established divine families. The female figure is not only a mother of her family, she is also mother of a greater version of Arcady. In her position, the people and spirits of the land honor her for her greatness.
Notes
- Shawcross 1993 p. 28
- Lewalski 2003 p. 3
- Lewalski 2003 pp. 7–8
- ^ Lewalski 2003 p. 8
- ^ Revard 1997 p. 144
- Carey 1990 p. 257
- Lewalski 2003 p. 7
- Revard 1997 pp. 154–155
References
- Carey, John. "Milton's Harmonious Sisters" in The Well Enchanting Skill. Ed. John Caldwell, Edward Olleson, and susan Wollenberg. Oxford: Claredon Press, 1990.
- Lewalski, Barbara. "Genre" in A Companion to Milton. Ed. Thomas Corns. Oxford: Blackwell Publishing, 2003.
- Revard, Stella. Milton and the Tangles of Neaera's Hair. Columbia: University of Missouri Press, 1997.
- Shawcross, John. John Milton: The Self and the World. Lexington: University Press of Kentucky, 1993.