Cynthia's Revels


Book Description




Cynthia's Revels


Book Description

Cynthia's Revels, or The Fountain of Self-Love is a late Elizabethan stage play, a satire written by Ben Jonson. The play was one element in the so-called Poetomachia or War of the Theatres between Jonson and rival playwrights John Marston and Thomas Dekker. The play begins with three pages disputing over the black cloak usually worn by the actor who delivers the prologue. They draw lots for the cloak, and one of the losers, Anaides, starts telling the audience what happens in the play to come; the others try to suppress him, interrupting him and putting their hands over his mouth. Soon they are fighting over the cloak and criticizing the author and the spectators as well. In the play proper, the goddess Diana, also called Cynthia, has ordained a "solemn revels" in the valley of Gargaphie in Greece. The gods Cupid and Mercury appear, and they too start to argue. Mercury has awakened Echo, who weeps for Narcissus, and states that a drink from Narcissus's spring causes the drinkers to "Grow dotingly enamored of themselves." The courtiers and ladies assembled for the Cynthia's revels all drink from the spring.




Cynthia ́s Revels


Book Description

Reproduction of the original: Cynthia ́s Revels by Ben Jonson




Cynthia's Revels


Book Description

Cynthia's Revels, or The Fountain of Self-Love is a late Elizabethan stage play, a satire written by Ben Jonson. The play was one element in the so-called Poetomachia or War of the Theatres between Jonson and rival playwrights John Marston and Thomas Dekker.




Cynthia's Revels


Book Description










Cynthia's Revels Or, The Fountain Of Self-Love Vol. One


Book Description

"Cynthia's Revels: Or, The Fountain of Self-Love" is a satirical play written by means of Ben Jonson. Set in the courtroom of Queen Elizabeth I, the play explores the themes of self-love, conceitedness, and social pretensions. The story revolves around the character of Cynthia, a symbol of the moon and the queen herself. Cynthia is portrayed as a smart and virtuous ruler who observes the follies and vices of the courtiers. The play satirizes the courtly behavior and exposes the hypocrisy and self-centeredness of the characters. The identify "Cynthia's Revels" refers to the extravagant and extravagant events and entertainments prepared via the courtiers to thrill the queen. These revels serve as a backdrop for the exploration of the characters' flaws and the results of their self-love. Through witty speak, sharp observations, and comedic situations, Jonson criticizes the immoderate self-love and narcissism commonplace in society. The play offers a moral lesson approximately the risks of vanity and the importance of self-awareness and humility. Overall, "Cynthia's Revels: Or, The Fountain of Self-Love" is a humorous and notion-frightening work that exposes the issues of human nature and offers a satirical remark on the society of Jonson's time.







Laughing and Weeping in Early Modern Theatres


Book Description

Did Shakespeare's original audiences weep? Equally, while it seems obvious that they must have laughed at plays performed in early modern theatres, can we say anything about what their laughter sounded like, about when it occurred, and about how, culturally, it was interpreted? Related to both of these problems of audience behaviour is that of the stage representation of laughing, and weeping, both actions performed with astonishing frequency in early modern drama. Each action is associated with a complex set of non-verbal noises, gestures, and cultural overtones, and each is linked to audience behaviour through one of the axioms of Renaissance dramatic theory: that weeping and laughter on stage cause, respectively, weeping and laughter in the audience. This book is a study of laughter and weeping in English theatres, broadly defined, from around 1550 until their closure in 1642. It is concerned both with the representation of these actions on the stage, and with what can be reconstructed about the laughter and weeping of theatrical audiences themselves, arguing that both actions have a peculiar importance in defining the early modern theatrical experience.