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The first thing that led us to doubt its authenticity, was the striking resemblance that appears between the plan of the work, and Milton's celebrated Masque at Ludlow Castle. We do not mean however to hold forth this circumstance as decisive in its condemnation. The pretensions of Cadwallo, or whoever was the author of the performance, are very high to originality.
Hofer was not herself entertaining, she and her guest lunched and dined out daily, attended several teas every afternoon, a cotillon, a skating masque, and five balls. Two of the luncheons were at Burlingame and Menlo Park, whence they motored as valiantly as if the roads were European.
I do not propose to enter into any detailed account of the manner in which we may suppose the masque to have been performed, nor into the literary history of the poem itself; to do so would be a work of supererogation in view of the able discussion of the whole subject from the pen of Professor Masson.
The allusive and allegorical features which had long been traditional in the pastoral likewise suited the topical and occasional nature of the masque. The connexion, however, with the stricter forms at least, was never very close, the tendency on the part of the pastoral to confine itself to a mere external formalism being even more noticeable here than in the case of the regular drama.
The Aminta, while possessing a delicate dramatic structure of its own, yet retains not a little of the simplicity of the ecloga rappresentativa. Indeed, it is worth noting, alike on account of this quality in the poem itself as also of its literary ancestry, that, in a letter written within a year of its original production, Tiburio Almerici speaks of it by the old name of eclogue . Referring to its representation at Urbino, he writes: 'Il terzo spettacolo, che si è goduto questo carnovale, è stato un' egloga del Tasso, che fu recitata questo giovedì passato da alcuni gioveni d' Urbino nella sala, che fu fatta per la venuta delia Principessa. The princess in question was none other than Lucrezia d' Este, who had lately become the wife of Tasso's former companion Francesco Maria della Rovere, now Duke of Urbino, and who with her sister Leonora, the heroine of the Tasso legend, had, it will be remembered, stood sponsor to Beccari's play nearly twenty years before. The representation at Urbino to which Almerici alludes was not of course the first. Written in the winter of 1572-3 during the absence of Duke Alfonso, the piece was acted after his return from Rome in the summer of the latter year. Ferrara, as we have seen, had become and was long destined to remain the special home of the pastoral drama in Italy. Here on July 31, in the palace of Belvedere, built on an island in the Po, the court of the Estensi assembled to witness the production of Tasso's play . The staging, both on this and on subsequent occasions, was no doubt answerable to the nature of the piece, and added the splendour of the masque to the classic grace of the fable. Almerici remarks on the special attractions for spectators and auditors alike of what he calls 'la novit
It is certain that they were invited, together with the young law-students from the Inns of Chancery, to see a play and a masque acted in the hall; that seats were provided for their special accommodation in the hall whilst the sports were going forward; and that at the close of the dramatic performances the gallant dames and pretty girls were entertained by Pallaphilos in the library with a suitable banquet; whilst the mock Lord Chancellor, Mr.
The Duke of Fitz-Aquitaine was the great staple of Lady Firebrace's correspondence with Mr Tadpole. "Woman's mission" took the shape to her intelligence of getting over his grace to the conservatives. She was much assisted in these endeavours by the information which she so dexterously acquired from the innocent and incautious Lord Masque.
Now we come to Luther's house a part of the old convent. Wide yawns the stone doorway of the court; a grinning masque grotesquely looks down from its centre, and odd carvings from the sides. A colony of swallows have established their nests among the queer old carvings and gnome-like faces, and are twittering in and out, superintending their domestic arrangements.
There was included in its scenes a "Masque of the Marble Harp," in which the whole school was to be grouped about the fountain in the sunken garden. The marble figure of Harmony, or Poesy, or whatever it was supposed to represent, was to come to life in the picture and strum the strings of the lyre which it held. This was a trick picture and Mr.
It is, indeed, not a little curious that on the only two occasions on which Milton was called upon to produce something of the order of the masque, he cast his work into a more or less pastoral form; and this in spite of the fact that, as we have seen, the form was by no means a prevalent one among the more popular and experienced writers.
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