The Vision of the Twelve Goddesses PDF Download
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Author: Samuel Daniel
Publisher:
ISBN:
Category :
Languages : en
Pages :
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Book Description
Author: Samuel Daniel
Publisher:
ISBN:
Category :
Languages : en
Pages :
Get Book Here
Book Description
Author: Samuel Daniel
Publisher:
ISBN:
Category :
Languages : en
Pages :
Get Book Here
Book Description
Author: Samuel Daniel
Publisher:
ISBN:
Category :
Languages : en
Pages : 86
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Book Description
Author: Samuel Daniel
Publisher: Forgotten Books
ISBN: 9780332043890
Category : Biography & Autobiography
Languages : en
Pages : 84
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Book Description
Excerpt from The Vision of the Twelve Goddesses: A Royall Masque Daniel, and acted by the (been, Anne of Denmark, and her ladies of honour at Hampton Court, on the 8th of January, 1604. Before dc scribing the masque itself, it may be as well to give a short sketch of the state of the Court at the time of its representation, and of the persons who' took part in it; and to glance at some of the other amuse ments and festivities, that enlivened the first Christ mas which King James and his (been spent in their new kingdom. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Author: Samuel Daniel
Publisher: Andesite Press
ISBN: 9781298637406
Category :
Languages : en
Pages : 82
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Book Description
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Author: Samuel Daniel
Publisher: Createspace Independent Publishing Platform
ISBN: 9781545344187
Category :
Languages : en
Pages : 84
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Book Description
From the Introduction. THE Vision of the Twelve Goddesses, which is reprinted in the following pages, was a masque written by Samuel Daniel, and acted by the Queen, Anne of Denmark, and her ladies of honour at Hampton Court, on the 8th of January, 1604. Before describing the masque itself, it may be as well to give a short sketch of the state of the Court at the time of its representation, and of the persons who took part in it; and to glance at some of the other amusements and festivities, that enlivened the first Christmas which King James and his Queen spent in their new kingdom. It was about the beginning of December, 1603, that they resolved to move to Hampton Court for the ensuing season. Probably the recollection of the splendid entertainments of which it had been the scene during the reigns of the Tudor sovereigns, and especially of the late Queen, suggested it as the most appropriate royal residence in which to celebrate their advent to the throne. Of all the English palaces it was then, as it is now, the most spacious; and, with its magnificent suite of reception-rooms, of which only the Great Hall and Withdrawing Chamber now remain, the most adapted for brilliant Court gaieties. The desire of the King and Queen to rival the splendour of their predecessors doubtless had weight with them in selecting a masque as the principal feature of the festivities. For it was just about this time that these entertainments were beginning to be popular. Towards the close of Queen Elizabeth's reign they had gradually tended towards the form they eventually assumed under the skilful hands of Ben Jonson; they were, in fact, developing from the mere masquerades or mummings into dramatic representations of a high lyrical order, which found their noblest embodiment in Milton's sublime poem, "Comus." And it will be interesting to inquire into this masque of Daniel's in particular, because it was, in a certain sense, the first true masque ever presented, and because it holds a position midway between the earlier revels of Tudor times and the more finished compositions which have been alluded to.
Author: Kristin Rygg
Publisher: Pendragon Press
ISBN: 9781576470732
Category : Juvenile Nonfiction
Languages : en
Pages : 310
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Book Description
Exploring the English court masque as music theater, Rygg (musicology, Hedmark College, Norway) finds that particularly the Jonsonian masque of the first third of the 17th century carried within it a potential function as an early modern mystery with roots in the ancient Pythagorean school. It was a mystery, she says, in which poetry, music, and dance were prime vehicles of transcendence. No information is provided about the series the volumes seems to begin. Annotation copyrighted by Book News Inc., Portland, OR
Author: Samuel Daniel
Publisher: Scholar's Choice
ISBN: 9781297194160
Category :
Languages : en
Pages : 82
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Book Description
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Author: S. P. Cerasano
Publisher: Associated University Presse
ISBN: 0838644686
Category : Drama, Medieval
Languages : en
Pages : 301
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Book Description
Medieval and Renaissance Drama in England is an international journal committed to the publication of essays and reviews relevant to drama and theatre history to 1642. This issue includes eleven new articles and reviews of twelve books.
Author: Dawn Lewcock
Publisher: Cambria Press
ISBN: 1604975784
Category : Drama
Languages : en
Pages : 370
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Book Description
This book examines why, when, how and where the scenic stage began in England. Little has been written about the development of theatrical scenery and how it was used in England in the seventeenth century, and what is known about the response to this innovation is fragmentary and uncertain. Unlike in Italy and France where scenery had been in use since the sixteenth century, the general public in England did not see plays presented against a painted location until Sir William Davenant presented The Siege of Rhodes at Lincoln's Inn Fields in 1661. Painted landscapes or seascapes, perspective views of cities or palaces, lighting effects, gods or goddesses flying down on to the stage in a chariot, all these had only been seen before on the masque stage at court or in the occasional private play performance. This study argues that Sir William Davenant (1606-1668) was involved almost from the beginning of the process and that his influence continued after his death; that, although painted scenery as such would undoubtedly have appeared on the public stage after 1660, it would not have been in the same way, for Davenant made particular positive contributions which brought about certain changes in both the presentation and reception of plays which would not have happened as they did without his work and influence. This is new work which uses dramaturgical and scenographical analysis of selected plays and masques, against known theatrical history, to discover how the staging of painted settings was organised from c1605 to c1700. This kind of investigation into the links between masque staging and the staging of plays has not been done in quite this way before. The study begins with Davenant's involvement with Inigo Jones and John Webb. It analyses the staging of the court masques and discusses what Davenant took from this and how he used the information. It suggests that the move towards verisimilitude in the drama on the scenic stage was due in part to Davenant's imaginative use of certain of the physical components of masque staging in presentations by the Duke's Company. It argues that he encouraged dramatists to integrate the scenery into their plots, particularly to provide for disclosures and discoveries, in ways not possible before. How, in so doing, he implicitly changed the stage conventions of time and place which audiences had accepted from the platform stage. It also argues that the parallel development of operatic spectacle derived mainly from the use by Killgrew and the King's Company of the techniques for engineering the spectacular effects of the transformation scenes of the masque stage to embellish the heroic drama by Dryden and others. It suggests that the two staging methods combined in the later seventeenth century to give more sophisticated ways of using the scenery and thus involved the scenic stage with the dialogue and the action in all genres, but that such experimentation ended when financial and commercial considerations made it no longer viable. Nevertheless it concludes that, by the eighteenth century, theatre practitioners had learnt to use the stage craft and mechanical techniques of the masque stage to integrate the visual with the aural aspects of a production, and that dramatists, once concerned solely with the aural expression of their theme, had become playwrights who allowed for the visual elements in their texts. Over fifty illustrations exemplify the discussion. This is an important book in the history of theatre, essential background for the staging of the court masque, and for the scenography of the Restoration theatre.
