Only mentioned. In Greek mythology, Acteon was a young hunter who stumbled upon
Diana and her nymphs bathing. He was in awe of the sight of the naked goddess in
the pool. Diana sensed him and she transformed him into a stag, and his own
hounds tore him apart. The story's message is that death was the penalty of any
man setting his eyes upon the chaste Diana. In the valley of Gargaphie, near the
fountain of Self-love, Echo laments her death of her beloved Narcissus. She says
that this is the place where young Acteon died, pursued and torn by Cynthia's
wrath rather than his hounds. Echo says this place is fatal, since it claims the
deaths of young and handsome men. However, Cupid reports that Cynthia has
instituted the revels in memory of Acteon's death. After the revels, Cynthia
speaks solemnly declaring the celebrations concluded and mentioning Acteon's
name concerning the error of self-love. Cynthia says that Acteon, by presuming
he was exceedingly fair, has met with a terrible death. Cynthia wants to make
his fate a lesson for the self-conceited mortals who dare challenge the divine
powers.
AGLAIA
Aglaia is the second virgin introduced by Cupid/Anteros as part of the First
Masque at Cynthia's revels. She is a "mute character" and is finally discovered
to be Gelaia in disguise. According to Cupid/Anteros, Aglaia is represented by
the color green and symbolizes delectable conversation, which sometimes induces
pleasant laughter. Aglaia's mission at the court of Queen Perfection was to
entertain assemblies and create a pleasant and familiar atmosphere. Her emblem
is a heart with rays about it within a ring of clouds. The motto is "curarum
nubila pello" (chase away the clouds of trouble). This is an allegory of
Cynthia's light, which clears the sky, just as the pleasant cheerfulness clears
the human heart. At the end of the revels, when Cynthia orders the characters to
unmask, Aglaia appears as Gelaia, who is punished together with the other nymphs
and gallants.
ALICANDROE
Only mentioned. King Licanor is a character in a comedy by Pedro Calderón de la
Barca, entitled El Castillo de Lindabrides. This play deals with the chivalric
world and King Licanor is Lindabridis's father. When Amorphus instructs Asotus
in the art of being a courtier, Asotus says he will call his fictional lady "my
dear Lindabrides." Since Amorphus wants details about this exotic-sounding name,
Asotus explains that Lindabrides is the emperor Alicandroe's daughter and the
Prince Meridian's sister in The Knight of the Sun. It seems that Asotus collates
two chivalric romances, taking the title from one and using the badly distorted
characters' names and plot from the other. In Asotus's interpretation, King
Licanor becomes emperor Alicandroe.
AMORPHUS
Amorphus or the Deformed is a traveler that has drunk of the fountain of
Self-love and publicizes the wonders of the water. Amorphus might represent
Anthony Munday, Jonson's contemporary and fellow-playwright. Before the Fountain
of Self-love, Amorphus enters, drinks of the water, and suddenly becomes
enamored with himself. Asotus and Crites enter, and the poet introduces Asotus
to Amorphus. Amorphus promises Asotus to initiate him in the courtly manners and
he exits with Asotus, followed by their pages. At court, Amorphus enters with
Asotus, teaching his new disciple variants of courtly behavioral stereotypes. In
an apartment at the palace, Amorphus enters with Asotus to join the nymphs'
company. After gallant conversation and games, Amorphus and the other members of
the party of nymphs and gallants drink of the miraculous fountain water and
become even more self-conceited than they already were. Amorphus exits with the
party of revelers. In another room at the palace, Amorphus enters with Asotus,
explaining his disciple the theory of colors while waiting for the guests to
arrive at the party. When the party begins, Amorphus introduces Asotus as the
champion in the contest of elegant behavior. However, when Mercury disguised as
a Frenchified Gentleman appears as the other contestant, Amorphus takes the
challenge. The result of the competition is total disgrace for the nymphs and
their gallants, whose affected ways are exposed. At Cynthia's revels, Amorphus
is disguised as Eucosmos in the Second Masque. In the end, Crites pronounces the
punishment for the self-infatuated nymphs and gallants. Amorphus exits with the
others singing a Palinode. The song is an invocation of the god Mercury, who is
asked to defend them against the dangers of counterfeit and vanity. As part of
the penance, the affected nymphs and courtiers must go to Niobe's stone and
repent. After being purged, they are invited to taste of the water of the Well
of Knowledge and then report of Cynthia's grace.
ANAIDES
Anaides or the Impudent is a gallant in the fustian country of Gargaphie. The
character ridicules John Marston, Jonson's contemporary and fellow-playwright.
According to Mercury, Anaides would speak any impudence without blushing. He is
very proficient in all the illiberal sciences, such as cheating, drinking,
bragging, and whoring. In an apartment at court, Anaides enters accompanied by
Hedon and Gelaia. Seeing Crites walk in meditation, both gallants calumniate the
poet, calling him a candle-waster. In an apartment at the palace, Anaides enters
with Mercury and Hedon, joining the party of nymphs and gallants. After
courteous conversation and games, Anaides and the other members of the party of
nymphs and gallants drink of the miraculous fountain water and become even more
self-conceited than they already were. When Gelaia complains of Anaides's
jealousy, appealing to her mother Moria as a mediator, Anaides tries to redress
the situation with a kiss, but without renouncing his impudent ways. When Arete
announces that Cynthia does not need the nymphs and gallants for the revels that
night, the party disperses. In an apartment at the palace, Anaides enters with
the nymphs and gallants to have a party, but he is finally disgraced, like the
others, when Mercury ridicules their affected ways. At Cynthia's revels, Anaides
is disguised as Eutolmos in the Second Masque. In the end, Crites pronounces the
punishment for the self-infatuated nymphs and gallants. Anaides exits with the
others singing a Palinode. The song is an invocation of the god Mercury, who is
asked to defend them against the dangers of counterfeit and vanity. As part of
the penance, the affected nymphs and courtiers must go to Niobe's stone and
repent. After being purged, they are invited to taste of the water of the Well
of Knowledge and then report of Cynthia's grace.
ANDROMEDA
Only mentioned. In Greek mythology, Andromeda was the daughter of Cassiopeia and
Cepheus, the king of Ethiopia. Andromeda's mother claimed that they were more
beautiful than the sea nymphs, the Nereids. The Nereids felt insulted by this
and complained to the sea god Poseidon. Poseidon threatened to send a flood and
a sea monster to destroy the kingdom of Ethiopia. The king was advised by the
oracle to sacrifice his daughter. Andromeda was chained to a sea-cliff to be
devoured by the sea monster. Perseus rescued her and then married Andromeda.
After the marriage, Andromeda left her country to live with Perseus, who later
became the king of Tiryns and Mycenae. The goddess Athena placed the image of
Andromeda among the stars as a reward for keeping her parents' promise. While
waiting for the water from the Fountain of Self-love, so much publicized by
Amorphus, the nymphs discuss fashion and their admirers. When they describe
Amorphus, Philautia says he has a very imperfect face, and Phantaste adds that
he looks like the sea-monster about to ravish Andromeda from the rock. The
reference is to the classical story of Andromeda and is part of the nymphs'
spectacle of self-infatuation.
ANNABEL
Annabel is a "fictional character." During the gallant conversation with the
nymphs at Cynthia's court, the self-infatuated Amorphus narrates a fictional
tale in which a certain lady Annabel fell in love with him. Amorphus says that
he was the guest of the emperor once. After having been entertained by the Kings
of France and Aragon, as well as the dukes of Savoy, Florence, Orléans, Burbon,
Brunswick, and the Count Palatine, he had to wait for a few minutes to be
received by the emperor. While he was retired to a bay window in the palace, the
beautiful lady Annabel, niece to the empress and sister to the King of Aragon,
fell in love with him at first sight. So sudden was her coup-de-foudre that she
swooned. Despite all the physicians' attempts, Annabel languished for a few days
and ultimately expired with Amorphus's name on her lips. Amorphus continues his
extravagant story by telling how, a few hours before her death, lady Annabel
bequeathed to him a glove, which the emperor ordered to be sent to him
ceremoniously in six coaches dressed in black velvet and attended by guards. On
this mournful occasion, Amorphus said he composed an ode, which he intends to
sing to the audience, in accompaniment of his lyre. The ode is addressed to the
glove that is supposed to have been kissed by Cupid. Cupid and Mercury listen to
this ode and comment critically on it. Mercury said it is not fit to lament the
death of a lady. Ultimately, after having been entreated several times, Amorphus
accepts to give a copy of the ditty to the nymphs. He adds that he denied giving
a copy of it to princes, but he would depart with it for the true female twins
of perfection.
ANTEROS
At Cynthia's revels, Cupid is disguised as Anteros and introduces the four
cardinal virtues as part of the First Masque. Cupid/Anteros begins with a praise
of the goddess Cynthia, then tells how the four fair virgins, Storge, Aglaia,
Euphantaste, and Apheleia, have come from the palace of their queen Perfection
to visit Cynthia's imperial court. Cupid/Anteros presents each of the four
cardinal virtues of courtly manners, adding the symbols of their colors,
iconography, and their Latin mottoes. After having introduced the four virgins,
Cupid/Anteros explains that his name means "love's enemy" and he is, therefore,
more qualified to be at the court of the virgin Cynthia than in the palace of
Cytherea, the goddess of love. Cupid/Anteros thinks he is the best person to
introduce the four virgins because they profess as adversaries of love. After
the First and second Masques, the dance begins and Cupid/Anteros retires to the
back of the stage with Mercury/Page. Mercury challenges Cupid to use his bow,
but the god of love says he fears Cynthia's wrath if she hears the twang of his
bow. Instead, he just waves his arrow at Phantaste and Amorphus, and they
instantly fall in love, not with each other but with themselves. During the next
dance, Cupid/Anteros waves his arrow at Argurion but notices the same effect.
Mercury confirms that all have drunk of the fountain of Self-love and Cupid's
arrows are ineffective. Cupid wants to wave his arrow at Crites, but Mercury
warns him that the venom of his arrow cannot pierce the poet's soul. Finally,
when Cynthia orders the revelers to unmask, Cupid is discovered under his
disguise as Anteros. Cynthia is displeased and chases him away in disgrace.
APHELEIA
Apheleia is the fourth virgin introduced by Cupid/Anteros as part of the First
Masque at Cynthia's revels. She is a "mute character" and is finally discovered
to be Moria in disguise. According to Cupid/Anteros, Apheleia is a nymph as pure
and simple as the soul, she appears in white, and symbolizes Simplicity. She
emerges without folds, plaits, colors, or ornament. Her emblem is blank and the
motto reads "omnis abest fucus" (this lacks all color), alluding to Cynthia's
purity. Apheleia's symbol suggests that Cynthia is pure and immortal. At the end
of the revels, when Cynthia orders the characters to unmask, Apheleia appears as
Moria, who is punished together with the other nymphs and gallants.
APOLLO
Only mentioned. In Greek mythology, Apollo was the sun god and the protector of
the arts. He was also the music maker and the god of light and song, being
worshipped by the poets. When Cupid enumerates Mercury's famous actions of
legerdemain, he says that Mercury stole Apollo's bow. Reporting that Mercury
stole Apollo's most treasured and symbolic possession Cupid emphasizes his
cousin's ability as a deceiver.
ARETE
Arete or Virtue is a nymph of Cynthia's train. In an apartment at court, Arete
enters and finds Crites meditating on the evils of detraction. Arete assures
Crites that envious people will be swept away from Cynthia's court once the
glorious deity appears. Arete recommends Crites to converse with his true
friends and exits with the poet. Arete enters upon the party of nymphs and
gallants, after they have just drunk of the miraculous fountain water, and
announces them that Cynthia does not hold her revels that night. However, Arete
invites the nymphs and gallants to devise entertainment for Cynthia's next
attendance, with the help of the poet Crites. Arete exits to search for Crites.
In an apartment at the palace, Arete enters right after Mercury in disguise has
ridiculed the vain courtiers and nymphs. Arete informs Crites that he should
provide a masque for Cynthia's revels. Though Crites is too modest to accept,
Arete informs him that Cynthia is aware of the foolish courtiers around her and
intends to make amends. When Cynthia makes a ceremonious entrance at the revels,
Arete follows in her train. When Cynthia demands to know the order of the
revels, Arete informs the goddess that Crites will conduct the ceremony. Arete
exits to order the start of the revels. After the First and the Second Masques,
followed by the dance, Cynthia declares the ceremony closed and orders the
revelers to unmask. When seeing that the nymphs and the gallants have
impersonated virtuous characters, Cynthia nominates Arete and Crites to judge
them. Arete delegates Crites to pass the judgment on the self-conceited
courtiers. When Cynthia exits with her nymphs, Arete and Crites hold a place of
honor in the goddess's train.
ARGURION
Argurion or Money is a nymph and a court lady in the country of Gargaphie.
According to Mercury, Argurion is inconstant; she would run from gallant to
gallant, and her disposition changes. She likes players, lawyers, but mostly
fools, and is very influential at court, being able to open many doors. In an
apartment in the palace, Argurion enters with the other nymphs. They are
expecting the miracle water so much publicized by Amorphus. While waiting, the
vain nymphs discuss fashion and their admirers. Argurion says she prefers Asotus
to Hedon, her former paramour, because he is a most delicate youth and has a
sweet face and tender voice. When the gallants enter, the party engages in
affable conversation and society games. Argurion declares her admiration for
Asotus and gives him a diamond ring as a token of her love. At some point,
Asotus lavishes rich gifts on the other ladies. In order to prevent him from
spending his money on the other nymphs, Argurion pretends to swoon and is
carried away by Asotus and his page, Morus. Later, Morus re-enters reporting
that Argurion made a pass at him, saying that she used to love his master
Asotus, but now she loves his page. In an apartment in the palace, Argurion
enters with the nymphs and gallants to have a private party, but Mercury,
disguised as a Frenchified gentleman, ridicules their self-conceited and
affected ways. Argurion attends Cynthia's revels with the other nymphs and
gallants, and it is understood that she shares their final disgrace and
punishment.
ARISTARCHUS
Only mentioned. Aristarchus of Samos was a third-century BC Greek philosopher
who theorized the radical view that Earth and planets revolve around the Sun.
This model was too revolutionary to be accepted by his contemporaries, who
rejected the theory because it conflicted with geocentric religious principles,
as well as Aristotle's principle that all objects move towards the center of the
Earth. When Mercury describes Amorphus to Cupid, he says that the man is a
traveler who takes up all fashions and likes to imitate people so much that he
lost his individuality. For instance, Mercury says, Amorphus's beard is an
Aristarchus. The allusion points to the similitude between the philosopher's and
the courtier's beards.
ASOTUS
Asotus or the Prodigal is a citizen's heir and an aspiring courtier. The
character represents Thomas Lodge, Jonson's contemporary, or, possibly, Walter
Raleigh. Before the Fountain of Self-love, Asotus enters with Crites, who
introduces him to Amorphus as the son of an eminent citizen. Asotus shows off
his richness, intending to become Amorphus's disciple. Asotus exits with his new
counselor in the courtly ways. In an apartment in the palace, Asotus enters with
Amorphus to join the nymphs' company at a party. Asotus lavishes rich gifts on
the ladies, flaunting his wealth. After courteous conversation and games,
Amorphus and the other members of the party of nymphs and gallants drink of the
miraculous fountain water and become even more self-conceited than they already
were. When the party of revelers disperses, Asotus exits with them. In another
apartment at the palace, Asotus enters with Amorphus, listening to his teacher's
instructions regarding the symbolism of colors. When the party of the nymphs and
gallants begins, Amorphus introduces Asotus as the challenging champion in the
contest of elegant behavior. However, when Mercury, disguised as a Frenchified
gentleman takes the challenge, Amorphus replaces Asotus as the contestant.
Asotus and the other nymphs and gallants are ridiculed and leave in disgrace. At
Cynthia's revels, Asotus is disguised as Eucolos in the Second Masque. In the
end, Crites pronounces the punishment for the self-infatuated nymphs and
gallants. Asotus exits with the others singing a Palinode. The song is an
invocation of the god Mercury, who is asked to defend them against the dangers
of counterfeit and vanity. As part of the penance, the affected nymphs and
courtiers must go to Niobe's stone and repent. After being purged, they are
invited to taste of the water of the Well of Knowledge and then report of
Cynthia's grace.
AUTHOR
The play's Author, Ben Jonson, is a "ghost character." During the three
children's contention before the Prologue, Second Child offers to advocate for
Author and hear all that Third Child as audience has to tell him. Third Child
complains that Author can stand to write plays in bawdy humor and in servile
imitation of reality. Moreover, Third Child says, Author refurbishes older plays
and passes them for new ones. At these accusations, Second Child as Author
responds by blaming the members of the audience, who are not learned enough and,
therefore, not qualified to criticize any play. At the third sounding, Prologue
speaks to the audience in Author's name. Prologue says that Author hopes his
audience is led by their good judgment in censuring the play. Therefore,
Prologue says, Author would open himself to those members of the audience who
are conducted by the light of reason, not those who are swayed by the
adulterated opinions of others. Prologue says that Author is trying new ways to
entice the audience's learned ears, because his muse neither loves nor fears
ignorance, nor does she hunt after popular applause. According to Prologue,
speaking in Author's name, the muse wants her garland to be made by those
critics who can define what true merit is. Author knows that his poesy favors
words above action, and matter above words.
BARBER
The barber serving the affected courtiers is summoned at their party together
with the tailor, perfumer, milliner, jeweler, and feather-maker. Mercury,
disguised as a Frenchified Gentleman, uses and abuses these merchants, thus
showing the gallants how ridiculous they are. While Barber is cutting and
trimming the competitors' hair during the elegance contest, Mercury and Amorphus
abuse the other retailers finding faults with their services. Seeing that
Mercury is fidgeting, Barber tells him to hold still because he cannot do his
work. Mercury abuses Barber and starts beating him. It is understood that Barber
and the other dealers attend the scene in which the pretentious gallants and
nymphs are being disgraced through Mercury's over-reaction in elegant courtly
manners. Barber exits with the rest of the party.
CHILD, FIRST, SECOND, and THIRD
First Child is named Jack and he introduces the play together with Second and
Third Child. The Children of Queen Elizabeth's Chapel, among whom Nathaniel
Field and Salathiel Pavy acted the play in 1600. After the second sounding,
First Child enters with Second and Third Child. They are struggling over who
should speak the Prologue. First Child snatches the cloak, symbolic attire of
the Prologue's speaker. The three children actors quarrel and, finally, First
Child suggests that they should draw lots. When Third Child tells him to make
the cuts, First Child fears that the others might snatch his cloak while he is
stooping. Agreeing that the shortest cut will show the winner, the three
children draw cuts. First Child wins, and he adds metaphorically that the
shortest is come to the shortest, which implies that he must be the shortest of
the three children actors. First Child says he hopes he can go forward now
without raising his fellows' envy. Despite this, however, Third Child advances
to the front of the stage and speaks a prologue in prose, introducing the play's
characters and plot. When Second Child protests against this intrusion, First
Child says that this anticipation of the plot was only meant to show his
colleague's good memory. When Third Child asks for the cloak, First Child
refuses at first, lest his fellow might speak his prologue in it. However,
seeing that Third Child has already introduced the play, First Child gives him
the cloak reluctantly, reminding him that he has sworn not to speak the
prologue. First Child is amazed when Third Child wants to say his speech at the
front of the stage, standing on a stool, but he complies with everything and
plays a silent role while Second and Third Child have a dialogue on poets and
their critics. Finally, Third Child returns the cloak and First Child speaks the
Prologue at the third sounding. After the Prologue, the three children leave the
stage.
CHRESTUS
Chrestus is a worthy gentleman at Cynthia's court and a "ghost character." In a
soliloquy about detraction, Crites says that he disregards Anaides and Hedon's
slanders, because the perpetrators are not worthy of his attention. Had the
opprobrious words emanated from good Chrestus, Euthus, or Phronimus, Crites
argues that he would have been moved and tried to question and improve his
actions.
CITIZEN
Citizen is Asotus's brother-in-law and his name is Downfall. He wants to
participate in the courtiers' party at Cynthia's palace but Amorphus and
Morphides deny him entrance. Though he insists, saying that his wife is the
sister of the gentleman who is inside (Asotus), the citizen cannot gain access.
Eventually, Asotus tries to placate the citizen, asking him to pardon the
guards, but husbands are not allowed at the party. Asotus lets his sister in,
promising to bring her back soon. In the meantime, the citizen is asked to wait
for them outside with a lantern.
CITIZEN'S WIFE, DOWNFALL
Mistress Downfall is the citizen's wife and sister to Asotus. Like her husband,
she wants to participate in the courtiers' party at Cynthia's palace, but
Amorphus and Morphides deny them entrance. When the citizen insists, saying that
his wife is the sister of the gentleman inside, Asotus comes forward. However,
he lets only the citizen's wife inside, telling his brother-in-law that husbands
are not allowed at the party. The party starts, and Hedon courts Mistress
Downfall, saying that he is sorry her husband could not get in. The citizen's
wife says it is no matter for him, and Anaides adds that, in this way, the wife
has more liberty for herself. The citizen's wife attends the entertainment and
she exits with the other nymphs and gallants.
CITIZEN'S WIFE, PHANTASTE
The citizen's wife that Phantaste imagines to become is a "fictional character."
In an apartment in Cynthia's palace, Phantaste, Philautia, Argurion, and Moria
are expecting the miracle water from the fountain of Self-love, so much
publicized by Amorphus. While waiting, the vain nymphs discuss fashion, their
admirers, and fantasize on what they would like to be. While Moria and Philautia
imagine they could be extremely powerful women, Phantaste fantasizes that she
could impersonate many women and do various things. As a citizen's wife,
Phantaste imagines that she could be troubled with a jealous husband but do
whatever she pleases, disregarding his demands. Thus, she argues, others'
miseries should be her pleasures.
CLARIDIANA
Only mentioned. Claridiana is a character in a comedy by Pedro Calderón de la
Barca, entitled El Castillo de Lindabrides. This play deals with the chivalric
world and Claridiana is a lady rival to Lindabridis. When Amorphus instructs
Asotus in the art of being a courtier, Asotus says he will call his fictional
lady "my dear Lindabrides." Since Amorphus wants details about this
exotic-sounding name, Asotus explains that Lindabrides is the emperor
Alicandroe's daughter and the Prince Meridian's sister in The Knight of the Sun.
According to Asotus, Lindabrides should have been married to a prince, but the
princess Claridiana... Amorphus interrupts Asotus's peroration, under the pretext
that he betrays his reading. It seems that Asotus collates two chivalric
romances, taking the title from one and using the badly distorted characters'
names and plot from the other.
COS
Cos is Amorphus's page. Before the Fountain of Self-love, Cos enters with
Prosaites, offering his services as a servant. Amorphus tells Cos to conceal his
qualities until they are alone. Cos follows Amorphus to court. In an apartment
at the palace, Cos enters following Amorphus and Asotus. Since Amorphus wants to
perform various behavioral stereotypes for Asotus's benefit, he asks Cos to
stand guard. Cos promises to let his master know when the wolf comes. After the
private performance, Asotus calls for his boy, Prosaites. Cos wants to show off
his zeal in preventing any intruder from entering and warns his master that
"lupus" (the wolf) is in. Seeing that it is only Prosaites, Cos lets him in.
Impressed with Cos's diligence, Asotus gives him as an example of efficiency to
his own servant. Cos exits following Amorphus and Asotus. The pages Prosaites,
Gelaia, and Cos enter extolling the wonders of a fountain where all the ladies
and gallants lie languishing and sighing to one another. Cos exits with the
other pages, followed by Mercury, to see the miracle fountain. In an apartment
at court, Cos enters with Anaides, Gelaia, and Prosaites, carrying bottles that
contain water from the much-praised fountain. After the party of nymphs and
gallants drink of the water, and they find out that Cynthia will not hold the
revels that night, all disperse. The pages stay behind to gossip for a while.
Cos says that the revels would have been magnificent that night, had they gone
forward. It is understood that Cos is present at Cynthia's revels with the other
impertinent pages and shares the punishment inflicted on the self-conceited
nymphs and gallants.
COUNTRY GENTLEWOMAN
The country gentlewoman that Phantaste imagines to become is a "fictional
character." In an apartment in Cynthia's palace, Phantaste, Philautia, Argurion,
and Moria are expecting the miracle water from the fountain of Self-love, so
much publicized by Amorphus. While waiting, the vain nymphs discuss fashion,
their admirers, and fantasize on what they would like to be. While Moria and
Philautia imagine they could be extremely powerful women, Phantaste fantasizes
that she could impersonate many women and do various things. As a country
gentlewoman, Phantaste imagines that she could keep good house and come up to
the city to see the motions.
COURT
Court attending the play is a "mute character." In Ben Jonson's dedication, he
addresses Court as "the special fountain of manners." The eulogy praises Court's
qualities as a model of perfect manners and the exemplary mirror reflecting
splendid features. However, Jonson argues, Court should render people's figures
truly, and not be a medium of self-flattery. Jonson says that true virtue does
not lie in the powdering or perfuming of fashionable court dress, but in the
mind shining through any suit, and which needs no false light or honors to help
it. Jonson commends the characters of Crites and Arete as such illumined spirits
living in Cynthia's palace. Jonson addresses Court as the source of the light of
poetry, like Phoebus, saying that it is her province to nurture the great
spirits. However, Jonson warns against Court's temptation to mix the pure and
perfect waters of her spring with the fountain of self-love and adulation.
CRITES
Crites is a poet in ancient Rome. Crites is Jonson's self-complaisant portrait
if himself. He wants to look like the just, wholly admirable and judicious
scholar, holding his head high above the pack of envious detractors, careless of
their vile attacks on his perfection. According to Mercury, Crites is a creative
temperament, in whom all the humors are harmoniously combined. He despises
pleasure and is more delighted with good deeds than goods. Before the Fountain
of Self-love, Crites enters with Asotus, whom he introduces to Amorphus. When
Amorphus exits with Asotus to court, Crites meditates on people's vanity and
vice. In an apartment at court, Crites enters meditating on the evils of
detraction. Arete enters and consoles the poet, telling him that detraction is
short-lived and he should associate with true friends. Crites exits with the
nymph of virtue to compose verses for the goddess Cynthia. In an apartment at
the palace, while the nymphs and courtiers are playing society games, Crites
enters introducing Mercury disguised as a ridiculous Frenchified gentleman, whom
he presents as eligible to participate in the contest of court manners. While
Mercury apes the precious court deportment, thus ridiculing the gallants, Crites
makes sarcastic comments on narcissism and vanity. When they realize they have
been mocked at, the party of nymphs and gallants disperses in disgrace. Arete
enters informing Crites that Cynthia intends to engage his help in organizing
the masques at the revels. Though Crites modestly affirms that he is not worthy
of the honor, he finally accepts when he hears that the revels are meant to
expose the folly of the courtiers and of the vain nymphs. Crites exits invoking
the gods to help him in this artistic enterprise. At Cynthia's revels, after the
presentation of the masques, Cynthia makes laudatory comments on their author.
When Cynthia orders the revelers to unmask, discovering that the nymphs and
gallants have impersonated cardinal virtues, Crites and Arete are nominated as
the supreme judges of the self-conceited transgressors. Arete delegates Crites
to pronounce the sentence and the poet declares that all the nymphs, gallants,
and their pages must go to Niobe's stone singing a Palinode. There, they must
repent of their vain behavior. Thus purified, they must drink of the Well of
Knowledge, the Helicon, and offer their services to Cynthia. When Cynthia exits
with her nymphs, Crites and Arete hold a place of honor in the goddess's train.
CUPID
In Roman mythology, Cupid is the god of love, the same as the Greek god Eros. He
was the son of Venus and was pictured as a blindfolded boy with bow and arrows.
Cupid shot golden arrows into the hearts of those his mother Venus wanted to
unite in marriage. At Cynthia's court, Cupid is disguised as a page. Before the
fountain of Self-love, Cupid enters on one side and Mercury on the other. Cupid
relates to Mercury how Cynthia has proclaimed her revels in the valley of
Gargaphie to honor the death of Acteon, in response of the slanders brought
against her. During this period of celebrations, all are entitled to visit her
place and entertain her nymphs. Cupid explains he has decided to disguise as a
page and court Diana's maids. After disclosing his intentions, Cupid exits. At
Cynthia's court, Cupid enters with Mercury. Both are disguised as pages and they
retire to the back of the stage to observe the nymphs and gallants. The pages
enter extolling the virtues of a wonder fountain, and Cupid exits with Mercury
to see the miracle. In an apartment in the palace, Cupid enters with the nymphs.
All are expecting the miracle water so much publicized by Amorphus. Cupid and
Mercury retire to the back of the stage and observe the nymphs and gallants
playing the game of courtly demeanor. They see how the entire party of nymphs
and gallants drink of the miracle water and get contaminated with the germ of
self-conceit. Eventually, when all leave, Cupid says he will go to sleep till
the reveling music awakes him. At Cynthia's revels, Cupid appears disguised as
Anteros and introduces the First Masque. After the First and Second Masques, the
dance begins and Cupid/Anteros retires to the back of the stage with Mercury.
Finally, when Cynthia orders the revelers to unmask, Cupid is discovered under
his disguise as Anteros. Cynthia is displeased and chases him away in disgrace.
CYNTHIA
Cynthia or Diana, the Moon, is the mistress of the revels in the country of
Gargaphie. In Roman mythology, Cynthia, the twin sister of Apollo, was the moon
goddess. She was also goddess of vegetation and, attended by nymphs, supervised
waters and lush wild growth. Also the goddess of wild animals and the hunt, she
was pictured with a stag or a hunting dog. Cynthia was one of the three virgin
goddesses, vowing always to remain chaste and she expected all the nymphs in her
company to remain so. Announced by Hesperus, Cynthia makes an entrance at the
revels. The goddess bemoans human folly and praises the virtue of chastity.
Cynthia shows concern at Cupid's potential presence at the revels, since the god
of love might play one of his little pranks, but Arete assures her that all
events will securely evolve in Cynthia's sight, so there is no danger of foul
love-play. When Cynthia demands to know the order of the revels, Arete informs
her that Crites will conduct them, and he is a poet most favored with the Muses.
After the presentation of the First Masque, Cynthia praises the poet, whom she
calls a person of learning and virtue. After the Second Masque and the dance,
Cynthia solemnly declares the festivity concluded and orders the revelers to
unmask. When she discovers that the nymphs and gallants have impersonated
cardinal virtues, Cynthia is displeased. Seeing that Cupid is disguised as
Anteros, she chases him away. Cynthia nominates Crites and Arete as the judges
of the self-conceited nymphs and gallants. After hearing the punishment, Cynthia
exits followed by her train and praised by all.
DAGONET
Only mentioned. Dagonet was King Arthur's jester. When Crites challenges the
affected courtiers to a fencing contest, he first challenges Amorphus and then
Anaides, whom he calls ironically Sir Dagonet. The allusion is to Anaides's
foolishness.
DAIRY–WENCH
The dairy-wench that Phantaste imagines to become is a "fictional character." In
an apartment in Cynthia's palace, Phantaste, Philautia, Argurion, and Moria are
expecting the miracle water from the fountain of Self-love, so much publicized
by Amorphus. While waiting, the vain nymphs discuss fashion, their admirers, and
fantasize on what they would like to be. While Moria and Philautia imagine they
could be extremely powerful women, Phantaste fantasizes that she could
impersonate many women and do various things. As a dairy-wench, Phantaste
imagines that she could dance at spring festivals and make garlands.
DELIA
Only mentioned. Delia is the poetic name of Tibullus's mistress. The poet
dedicated his love elegies to her under this name. While waiting for the
much-publicized miracle water from the Fountain of Self-love, Phantaste,
Philautia, Argurion, and Moria compliment each other on their gowns and
admirers. When Phantaste and Moria refer to Hedon as Phantaste's devoted lover,
the nymph shows displeasure. She says she is not interested in Hedon, adding
that he tires her and he is at her side only because he makes her look
intelligent by comparison. Philautia says that she should be inspiring great
poems of love, like some Delia. The allusion is to the Roman lady who inspired
Tibullus's love elegies.
DEMOSTHENES
Only mentioned. Demosthenes (384-322 BC) was an Athenian orator and statesman.
In his youth, he was not an outstanding speaker. To learn to speak distinctly he
talked with pebbles in his mouth and recited verses while running. To strengthen
his voice, he spoke on the seashore over the roar of waves. He initially gained
repute as a constitutional lawyer and speechwriter, and subsequently spearheaded
the Athenian resistance to Philip Macedon. After the death of Alexander the
Great, he led the unsuccessful attempt to throw off the Macedonian yoke and took
poison to avoid being captured alive. When Crites and Asotus wonder that
Amorphus has become a water drinker, the self-indulgent traveler says that the
water from the Fountain of Self-love is better than the metheglin, a kind of
Greek wine that Demosthenes usually drunk while composing his exquisite
orations.
DIDO
Only mentioned. Dido is the Queen of Cartage and a character in Virgil's Aeneid.
Before Aeneas's arrival, Dido is the confident and competent ruler of Cartage, a
city she founded on the coast of North Africa. She is resolute in her
determination not to marry again and to preserve the memory of her dead husband,
Sychaeus, whose murder at the hands of Pygmalion, her brother, caused her to
flee her native Tyre. Despite this turmoil, she maintains her focus on her
political responsibilities. Virgil depicts the suddenness of the change that
love provokes in the queen with the image of Dido as the victim of Cupid's
arrow, which strikes her almost like madness or a disease. Dido risks everything
by falling for Aeneas, and when this love fails, she finds herself unable to
reassume her dignified position. By taking Aeneas as a lover, she compromises
her previously untainted loyalty to her dead husband's memory. She loses the
support of Cartage's citizens, who have seen their queen indulge in an amorous
obsession at the expense of her civic responsibilities. Her irrational obsession
drives her to a frenzied suicide. When Cupid describes Moria's self-conceit and
loquacity, he says that she admires herself very much and would tell anyone who
would listen that, in her youth, she was thought to be the dame Dido and Helen
of the court.
DUCHESS
The Duchess that Phantaste imagines to become is a "fictional character." In an
apartment in Cynthia's palace, Phantaste, Philautia, Argurion, and Moria are
expecting the miracle water from the fountain of Self-love, so much publicized
by Amorphus. While waiting, the vain nymphs discuss fashion, their admirers, and
fantasize on what they would like to be. While Moria and Philautia imagine they
could be extremely powerful women, Phantaste fantasizes that she could
impersonate many women and do various things. As a Duchess, Phantaste imagines
that she could keep her high state and play the grand dame.
DUKE of FERRARA
The Duke of Ferrara is a "fictional character." According to Amorphus, who wants
to boast his traveling exploits to the courtiers and the ladies, he drank an
exquisite Greek wine from the hand of an Italian antiquary, who claimed to have
taken it authentically from the Duke of Ferrara's bottles.
ECHO
In Greek mythology, Echo was a nymph who fell in love with Narcissus, who loved
his own image and refused her love. After his death, Echo was doomed to lament
by repeating only the last sounds of others' voices. In the valley of Gargaphie,
near a fountain and a groove, Mercury summons Echo. After three thousand years,
Mercury allows Echo to take a corporeal figure and ascend from the deep, endowed
with vocal and articulate capacity. Echo sits by the fountain where Narcissus
used to admire himself, and where he died, lamenting his sad fate. Echo argues
that self-love can never look on truth but with clouded eyes. Echo kisses the
narcissus flower and sings a song, naming the fountain where he died the
Fountain of Self-love. Echo lays a curse that whoever tastes of the spring's
water shall grow totally enamored with themselves. After accomplishing her task,
Echo retires to the underworld, reduced to her former inarticulate state.
EMPRESS
The Empress that Phantaste imagines to become is a "fictional character." In an
apartment in Cynthia's palace, Phantaste, Philautia, Argurion, and Moria are
expecting the miracle water from the fountain of Self-love, so much publicized
by Amorphus. While waiting, the vain nymphs discuss fashion, their admirers, and
fantasize on what they would like to be. While Moria and Philautia imagine they
could be extremely powerful women, Phantaste fantasizes that she could
impersonate many women and do various things. As an Empress, Phantaste imagines
that she could be all-powerful and do anything she likes.
EPILOGUE
Epilogue enters addressing the audience. He tells them that he has turned a poet
fortuitously, because Author has commanded him to produce a ceremonious
epilogue. According to Epilogue, he must act in a special manner, neither happy
nor sad, sour, serious, peremptory, or too confident, but somewhere in between.
Epilogue states that it is useless to lay the blame of the play's faults on the
children's company's poor acting. Epilogue promises a better play coming next
and announces that this play has ridiculed the maker of self-love. Speaking of
Author, Epilogue states that he has heard him say that the play is good, and if
the audience likes it, they may. Epilogue concludes with a Latin dictum, which
shows that the poem is much liked. Thus, the self-irony is addressed to the
play's Author, who is not spared the foible of self-conceit.
EUCOLOS
Eucolos is the fourth of the four brothers representing the four cardinal
properties of decorum introduced by Mercury/Page as part of the Second Masque at
Cynthia's revels. He is a "mute character" and is finally discovered to be
Asotus in disguise. According to Mercury/Page, Eucolos is dressed in thin
glittering metallic sheets, sparkling yet not gaudy. Eucolos represents good
nature and can make every kindness seem double. His motto is "divae maximae"
(the greatest goddess), and this attribute expresses Cynthia's greatness, which
is formidable in heaven, earth, and hell. After having been introduced, the
masques join in a dance. At the end of the revels, when Cynthia orders the
characters to unmask, Eucolos appears as Asotus, who is punished together with
the other nymphs and gallants.
EUCOSMOS
Eucosmos is the first of the four brothers representing the four cardinal
properties of decorum introduced by Mercury/Page as part of the Second Masque at
Cynthia's revels. He is a "mute character" and is finally discovered to be
Amorphus in disguise. According to Mercury/Page, the commendably fashioned
gallant Eucosmos appears in a changeable blue and green robe and represents
Elegance. His courtly habit is the grace of the presence and the ladies name him
Neat and Elegant. His motto is "divae virgini" (virgin goddess), by which he
expresses Cynthia's principal glory, that of virginity. After having been
introduced, the masques join in a dance. At the end of the revels, when Cynthia
orders the characters to unmask, Eucosmos appears as Amorphus, who is punished
together with the other nymphs and gallants.
EUPATHES
Eupathes is the second of the four brothers representing the four cardinal
properties of decorum introduced by Mercury/Page as part of the Second Masque at
Cynthia's revels. He is a "mute character" and is finally discovered to be Hedon
in disguise. According to Mercury/Page, Eupathes is dressed in a robe of purple
embroidered with gold and represents Opulence. He is a gallant who, without
excess, can dress richly in embroideries, jewels, and other ornaments. People
generally think he is of fine humor. His motto is "divae optimae" (the best
goddess), and this attribute expresses Cynthia's goodness, in which she
resembles her father Jove. After having been introduced, the masques join in a
dance. At the end of the revels, when Cynthia orders the characters to unmask,
Eupathes appears as Hedon, who is punished together with the other nymphs and
gallants.
EUPHANTASTE
Euphantaste is the third virgin introduced by Cupid/Anteros as part of the First
Masque at Cynthia's revels. She is a "mute character" and is finally discovered
to be Phantaste in disguise. According to Cupid/Anteros, Euphantaste appears in
a discolored mantle and symbolizes well-conceited wittiness. Her emblem is a
crescent upon a Mercurial hat. The motto is "sic laus ingenii" (thus is the
praise of talent), implying that the praise and glory of wit increases as does
the crescent moon. At the end of the revels, when Cynthia orders the characters
to unmask, Euphantaste appears as Phantaste, who is punished together with the
other nymphs and gallants.
EUTAXIA
Eutaxia is a "ghost character" in the Second Masque presented at Cynthia's
revels by Mercury/Page. Eutaxia is the mother of the four gallant brothers
representing courtly virtues, who are named Eucosmos, Eupathes, Eutolmos, and
Eucolos. According to Mercury/Page, Eutaxia is a lady beloved by Cynthia, whom
she keeps in high regard.
EUTHUS
Euthus is a worthy gentleman at Cynthia's court and a "ghost character." In a
soliloquy about detraction, Crites says that he disregards Anaides and Hedon's
slanders, because the perpetrators are not worthy of his attention. Had the
opprobrious words emanated from good Chrestus, Euthus, or Phronimus, Crites
argues that he would have been moved and tried to question and improve his
actions.
EUTOLMOS
Eutolmos is the third of the four brothers representing the four cardinal
properties of decorum introduced by Mercury/Page as part of the Second Masque at
Cynthia's revels. He is a "mute character" and is finally discovered to be
Anaides in disguise. According to Mercury/Page, Eutolmos is dressed in a
blush-colored suit, symbolizing that he duly respects others while never
neglecting himself. Eutolmos represents good Audacity and is an acceptable guest
to courtly assemblies. His motto is "divae viragini" (goddess brave as a man),
and this attribute expresses Cynthia's courage in chasing savage beasts. After
having been introduced, the masques join in a dance. At the end of the revels,
when Cynthia orders the characters to unmask, Eutolmos appears as Anaides, who
is punished together with the other nymphs and gallants.
FEATHER–MAKER
The feather-maker serving the affected courtiers is summoned at their party
together with the tailor, perfumer, barber, milliner, and jeweler. Mercury,
disguised as a Frenchified Gentleman, uses and abuses these merchants, thus
showing the gallants how ridiculous they are. Mercury demands the feather from
the feather-maker and the jewel from the jeweler to pin the feather on his hat.
The feather-maker produces the feather and it seems that he is the least abused
of the retailers, probably because the object of his trade is light. It is
understood that Feather-maker and the other dealers attend the scene in which
the pretentious gallants and nymphs are being disgraced through Mercury's
over-reaction in elegant courtly manners. Feather-maker exits with the rest of
the party.
GANYMEDE
Only mentioned. In Greek mythology, Ganymede was the gods' cupbearer. In trying
to incite Mercury's anger and curiosity, in order to win him for his plan, Cupid
calls him a mere servant of the gods, accustomed to wait at tables and fill out
nectar when Ganymede is away. Among Mercury's other menial jobs, Cupid
enumerates sweeping the gods' drinking room every morning and setting the
cushions in order again, after they had thrown them at each other's heads. Cupid
says that Mercury brushes the carpets, puts the stools in their places, and
plays the crier of the court with an audible voice.
GELAIA
Gelaia or Laughter is the daughter of Folly (Moria). She is a girl disguised as
a boy who waits on Anaides. At court, Gelaia follows Anaides and Hedon. When
Hedon shows off his courtly wit, Gelaia laughs foolishly. Gelaia exits following
Anaides and Hedon. The pages Gelaia, Prosaites, and Cos enter extolling the
wonders of a fountain where all the ladies and gallants lie languishing and
sighing to one another. Gelaia exits with the other pages, followed by Mercury,
to see the miracle fountain. In an apartment at court, Gelaia enters with
Anaides, Cos, and Prosaites, carrying bottles that contain water from the
much-praised fountain. Gelaia abuses Anaides, telling him that he is too
jealous. When he denies, Gelaia appeals to Moria, her mother, telling her how
Anaides is very insistent and always wants to know where she has been and what
she has done. Moria rebukes Anaides, telling him he does not deserve her
daughter's devotion to him. Anaides tries to make it up with a kiss, without
renouncing his impudent behavior. Gelaia leaves the party with the other nymphs,
gallants, and their pages, after their disgrace. At Cynthia's revels, Gelaia is
disguised as Aglaia in the First Masque. It is understood that Gelaia shares the
punishment inflicted on the self-conceited nymphs and gallants together with the
other impertinent pages.
GENTLEMAN
Mercury is disguised as a sophisticated Frenchified Gentleman for the party at
court, where he ridicules the self-conceited nymphs and gallants. While the
nymphs and courtiers are playing society games at the party, Crites enters
introducing Mercury ridiculously dressed. Crites presents a certificate
according to which the gentleman has French manners and is eligible to take the
challenge in the contest of courtly manners. The competition begins with
Amorphus and Mercury/Gentleman as opponents. Mercury as a sophisticated courtier
accomplishes the courtly protocols entitled pompously the "Bare Accost," the
"Better Regard," the "Solemn Address," and the "Perfect Close." At some point,
Mercury/Gentleman summons the tailor, barber, milliner, perfumer, jeweler, and
feather-maker to assist him. By exaggerating the courtiers' manners toward these
merchants to the extreme, Mercury/Gentleman makes the gallants and their nymphs
see how ridiculous they are. The revelers leave in disgrace and Mercury
disguised as a Gentleman retires.
GREAT LADY
The Great Lady that Phantaste imagines to become is a "fictional character." In
an apartment in Cynthia's palace, Phantaste, Philautia, Argurion, and Moria are
expecting the miracle water from the fountain of Self-love, so much publicized
by Amorphus. While waiting, the vain nymphs discuss fashion, their admirers, and
fantasize on what they would like to be. While Moria and Philautia imagine they
could be extremely powerful women, Phantaste fantasizes that she could
impersonate many women and do various things. As a Great Lady, Phantaste
imagines that she could lie in bed all day and have the courtiers visit her.
HELEN
Only mentioned. According to Homeric legend, Helen was the most beautiful woman
in the world. She was the wife of Menelaus, king of Sparta. Aphrodite, the
goddess of love, promised her to Paris, son of Priam of Troy. During Menelaus's
absence, Paris persuaded Helen to flee with him to Troy. Agamemnon, the brother
of Menelaus, led an expedition against troy to recover Helen, which started the
Trojan War. In the Iliad, Helen she loathes herself for the misery that she has
caused so many Trojan and Achaean men. Although her contempt extends to Paris as
well, she continues to stay with him. When the Greeks finally recover Helen,
Menelaus takes Helen back to Sparta. When Cupid describes Moria's self-conceit
and loquacity, he says that she admires herself very much and would tell anyone
who would listen that, in her youth, she was thought to be the dame Dido and
Helen of the court.
HESPERUS
Hesperus is the evening star and announces Cynthia's entrance at the revels.
When the revels begin, Hesperus sings a hymn in honor of the huntress goddess.
The lyrics describe how the sun is laid to sleep and Hesperus, the evening star,
accompanies the goddess's brightness, since Diana is often associated with the
moon. Hesperus announces Cynthia's ceremonious entrance. It is understood that
Hesperus attends Cynthia's revels and exits with her train.
HEDON
Hedon or the Voluptuous is a gallant at Cynthia's court. It is possible that the
character represent the poet Samuel Daniel, Jonson's contemporary. Mercury
describes Hedon as a vain courtier, who keeps a barber and a monkey, he is a
poet, and likes to beat everybody he owes money to. According to Mercury, Hedon
pawns his old suits and organizes parties to show off his new attire. At court,
Hedon enters with Anaides and Gelaia. Hedon shows off his wit, in an attempt to
seem intelligent, and he exits with Anaides, followed by Gelaia. In an apartment
at court, Hedon enters with Anaides. On seeing Crites walk in meditation, both
courtiers deprecate the poet, calling him a candle-waster. Having decided to
defame the poet publicly, Hedon exits with Anaides. In an apartment at court,
Hedon enters with Anaides, joining the party of vain nymphs and gallants. After
courteous conversation and games, Hedon and the other members of the party of
nymphs and gallants drink of the miraculous fountain water and become even more
self-conceited than they already were. Eventually, the party disperses. In an
apartment at the palace, Hedon enters with the nymphs and gallants to have a
party, but he is finally disgraced, like the others, when Mercury ridicules
their affected ways. At Cynthia's revels, Hedon is disguised as Eupathes in the
Second Masque. In the end, Crites pronounces the punishment for the
self-infatuated nymphs and gallants. Hedon exits with the others singing a
Palinode. The song is an invocation of the god Mercury, who is asked to defend
them against the dangers of counterfeit and vanity. As part of the penance, the
affected nymphs and courtiers must go to Niobe's stone and repent. After being
purged, they are invited to taste of the water of the Well of Knowledge and then
report of Cynthia's grace.
HERCULES
Only mentioned. Hercules was the greatest hero in Greek mythology. In trying to
incite Mercury's anger and curiosity, in order to win him for his plan, Cupid
says ironically that Hercules might challenge both of them, because he can throw
the bar farther and lift more joined stools at the arm's end. If Hercules can
claim superiority over their powers, Cupid says, then they can rebel and put on
a masking suit, enjoying Cynthia's revels. When Anaides splashes abuse at the
party of courtiers and nymphs, Hedon wonders rhetorically at the changes that
appeared in Anaides's attitude after only half a year of life at court.
According to Hedon, Anaides came with a pair of penniless hose to town the other
day, and now he is turned Hercules, he wants but a club. The ironic allusion is
to Anaides's pugnacious and impertinent attitude, in total contrast with his
physical power.
ITALIAN ANTIQUARY
The Italian antiquary is a "fictional character." According to Amorphus, who
wants to boast his traveling exploits to the courtiers and the ladies, he drank
an exquisite Greek wine from the hand of an Italian antiquary, who claimed to
have taken it authentically from the Duke of Ferrara's bottles.
JEWELER
The jeweler serving the affected courtiers is summoned at their party together
with the tailor, perfumer, barber, milliner, and feather-maker. Mercury,
disguised as a Frenchified Gentleman, uses and abuses these merchants, thus
showing the gallants how ridiculous they are. Mercury demands the feather from
the feather-maker and the jewel from the jeweler to pin the feather on his hat.
When Mercury asks for the price of hiring the precious stone, Jeweler says it is
six crowns. Mercury pretends to be outraged, saying that, at this price, he had
better borrow it and never let the owner see it again. Jeweler expresses the
opinion that the customer would not do that, adding that the stone is worth a
hundred crowns. Mercury starts abusing Jeweler, calling him an impostor that
should be hanged. He adds that thieves are not comparable to these people.
However, Mercury orders Jeweler to pin the feather on the hat with the precious
stone. In fact, Mercury's intention was to find fault with everything and look
for a minor reason for abuse. It is understood that Jeweler and the other
dealers attend the scene in which the pretentious gallants and nymphs are being
disgraced through Mercury's over-reaction in elegant courtly manners. Jeweler
exits with the rest of the party.
JOVE
Only mentioned. In Roman mythology, Jupiter (Jove) was the supreme god. Cupid
calls him his "uncle." In trying to incite Mercury's anger and curiosity, in
order to win him for his plan, Cupid calls Mercury a mere pander to his uncle
Jove's wishes. The allusion is to the fact that Mercury used to carry messages
for Jove's amorous transgressions. Cupid calls Mercury a mere attendant that
runs errands for Jove and whispers a light message to a loose wench. When Cupid
enumerates Mercury's famous actions of legerdemain, he says that Mercury stole
Jove's scepter while he was laughing. Cupid says that Mercury would have stolen
Jove's thunder too, but that was too hot for his itching fingers. Reporting that
Mercury stole Jove's most symbolic possession Cupid emphasizes his cousin's
ability as a deceiver.
LADY, FIRST and SECOND
First Lady is a country lady who attends the courtiers' party as a mask and she
is a "mute character." Since Amorphus and Morphides keep the door at the party
in Cynthia's palace, letting in only the nymphs and their gallants, Hedon says
that this country lady is his friend and she is allowed in. Second Lady also attends the courtiers' party as a mask and is a "mute character."
LATONA
Only mentioned. Latona is the Latin name of Leto, in Greek mythology the mother
of Apollo and Artemis/Diana, children of Zeus. Latona was the goddess of
fertility and she protected graves. Sometimes, Diana is identified with Latona.
When Echo sits by the Fountain of Self-love lamenting her lover's death, she
says that Latona and her nymphs bathe themselves in that spring, totally
oblivious of Echo's sorrows. Probably Echo identifies Diana/Cynthia with Latona,
her mother.
LINDABRIDES
Only mentioned. Lindabrides is a heroine in The Mirror of Knighthood, whose name
was a synonym for a kept mistress. The Mirror of Knighthood is a Spanish romance
by Diego Ortuñes de Calahorra (1562), translated into English by Margaret Tyler
(1578). Lindabrides is also the heroine in a Spanish comedy by Pedro Calderón de
la Barca, entitled El Castillo de Lindabrides. This play deals with the
chivalric world and the characters bear stock names, such as Rosicler,
Claridiana, or Meridian. When Amorphus instructs Asotus in the art of being a
courtier, Asotus says he will call his fictional lady "my dear Lindabrides."
Since Amorphus wants details about this exotic-sounding name, Asotus explains
that Lindabrides is the emperor Alicandroe's daughter and the Prince Meridian's
sister in The Knight of the Sun. It seems that Asotus collates two chivalric
romances, taking the title from one and using the badly distorted characters'
names and plot from the other.
LUCIAN
Only mentioned. Lucian (c117-180) is a Greek satirist and rhetorician. He made
his name as a peripatetic speechmaker, but eventually settled in Athens, where
he studied philosophy. Lucian introduced a new form of literature - the humorous
dialogue. He wrote at a time of increasing decline of old faiths, old
philosophy, and old literature, and this provided the subject matter of his
satire. Amorphus praises the waters of the fountain of Self-love, saying they
are better than the wine Demosthenes used to drink when composing his splendid
orations. Crites argues that Lucian, in his Encomium Demosthenis, affirms that
Demosthenes never drunk but water while producing his compositions. Amorphus
replies that Lucian is absurd and he knew nothing about Demosthenes. Amorphus
affirms that he would believe his own travels rather than rely on all the
Lucians of Europe, because the scholars feed people with figments of their
imagination and borrowings from others' writings.
MADAM
The brothel Madam that Phantaste imagines to become is a "fictional character."
In an apartment in Cynthia's palace, Phantaste, Philautia, Argurion, and Moria
are expecting the miracle water from the fountain of Self-love, so much
publicized by Amorphus. While waiting, the vain nymphs discuss fashion, their
admirers, and fantasize on what they would like to be. While Moria and Philautia
imagine they could be extremely powerful women, Phantaste fantasizes that she
could impersonate many women and do various things. As a Madam, Phantaste
imagines that she could invent new love schemes and go visit courtiers, probably
with love messages.
MARS
Only mentioned. In Roman mythology, Mars is the god of wars, corresponding to
Ares in Greek mythology. When Cupid enumerates Mercury's famous actions of
legerdemain, he says that Mercury stole Mars's sword out of his sheath.
Reporting that Mercury stole Mars's most treasured and symbolic possession Cupid
emphasizes his cousin's ability as a deceiver.
MERCURY
Mercury was the Romans' name for the fleet-footed messenger of the gods called
Hermes by the Greeks. At Cynthia's court, Mercury is disguised as a page, but to
Cupid he speaks as himself. In the valley of Gargaphie, near the Fountain of
Self-love, Mercury enters on one side and Cupid on the other. From the gods'
conversation, it is inferred that Mercury and Cupid intend to disguise
themselves as pages at Cynthia's court. When Cupid exits, Mercury summons Echo.
When Echo's voice responds from below, Mercury says he was sent by his father
Jove to restore her body now, after three thousand years of being a disembodied
voice. Echo laments the death of her lover, Narcissus, and proclaims the
fountain of Self-love as a place generating self-conceit in whoever might drink
of its waters. Mercury sends Echo back to the underworld and he decrees that
Echo will forever rebound but the last words that are spoken. When Echo retires,
Mercury says that he is ready for the merriment that Cupid suggested and he
exits. At court, Mercury enters with Cupid. Both gods are disguised as pages and
they observe the vain courtiers and the nymphs interact, all the while making
comments on them. Mercury and Cupid see how the narcissistic nymphs and
courtiers drink of the miracle water from the fountain of Self-love and become
even more self-conceited than they already were. Mercury disguised as a
Frenchified Gentleman and as a Page contributes to the discrediting of the
pompous revelers. In the end, when the revels are ended, Cynthia discovers that
Mercury is disguised as a Page. She suspects that Mercury is responsible for the
pranks and misunderstandings and orders him to stay and hear Crites's judgment
on the vain courtiers and nymphs. When Cynthia exits followed by her train, it
is understood that Mercury leads the party of courtiers to do their penance.
They invoke the god Mercury to defend them from the hazard of self-conceit.
MERIDIAN
Only mentioned. Meridian is a character in a comedy by Pedro Calderón de la
Barca, entitled El Castillo de Lindabrides. This play deals with the chivalric
world and prince Meridian is a gallant, brother to the lady Lindabridis. When
Amorphus instructs Asotus in the art of being a courtier, Asotus says he will
call his fictional lady "my dear Lindabrides." Since Amorphus wants details
about this exotic-sounding name, Asotus explains that Lindabrides is the emperor
Alicandroe's daughter and the Prince Meridian's sister in The Knight of the Sun.
It seems that Asotus collates two chivalric romances, taking the title from one
and using the badly distorted characters' names and plot from the other.
MILLINER
The milliner serving the affected courtiers is summoned at their party together
with the tailor, perfumer, barber, jeweler, and feather-maker. Mercury,
disguised as a Frenchified Gentleman, uses and abuses these merchants, thus
showing the gallants how ridiculous they are. When Amorphus demands Milliner to
place the colored ribbons in his hat, Mercury expresses the opinion that these
are Bolognian bands. True to his trade, Milliner says they are Granado silk, or
he should not be paid a penny for his service. In fact, Mercury's intention was
to find fault with everything and look for a minor reason for abuse. It is
understood that Milliner and the other dealers attend the scene in which the
pretentious gallants and nymphs are being disgraced through Mercury's
over-reaction in elegant courtly manners. Milliner exits with the rest of the
party.
MORIA
Mother Moria or Mistress Folly is the guardian of the ladies Philautia,
Phantaste, and Argurion. According to Cupid, Moria is self-conceited and likes
to talk a lot. At court, Moria enters with Philautia and Phantaste. The nymphs
are very pleased with their attire and jewels, yet Cupid comments that these
nymphs are at Diana's court, but they are not stars in her train. Cupid says
that Moria has brought these nymphs to court privately, and when Cynthia and her
favorite nymphs appear, Philautia and Phantaste vanish like meteors. After
lavishing compliments on each other, Moria exits with Phantaste and Philautia.
In an apartment in the palace, Moria enters with her wards. They are expecting
the miracle water so much publicized by Amorphus. While waiting, the vain nymphs
and courtiers play society games and fantasize on who they would like to be.
Moria says she wished she were a wise woman and knew all the secrets of court,
city, and country. At some point, Moria exits with Asotus, pretending she wants
to introduce his new page to him, re-entering with Asotus followed by Morus.
Eventually, Moria manipulates the foolish Asotus into lavishing rich gifts on
the nymphs. When Gelaia enters with the other pages, carrying bottles with the
water from the much-praised fountain, Moria rebukes Anaides for his jealousy,
telling him he does not deserve her daughter's devotion. Moria and the entire
party of nymphs and gallants drink of the miracle water and they become even
more self-conceited than they already were. At Cynthia's revels, Moria is
disguised as Apheleia in the First Masque. Like all the nymphs and gallants,
Moria suffers the disgrace of her fellows, and she does the same penance decreed
by Crites. Moria exits with the others singing a Palinode. The song is an
invocation of the god Mercury, who is asked to defend them against the dangers
of counterfeit and vanity. As part of the penance, the affected nymphs and
courtiers must go to Niobe's stone and repent. After being purged, they are
invited to taste of the water of the Well of Knowledge and then report of
Cynthia's grace.
MORPHIDES
Morphides is Amorphus's cousin and he keeps the door at Cynthia's palace. Before
the courtiers' party, Morphides enters announcing Amorphus that the gallants and
nymphs are ready to begin the merriment. Amorphus sends Asotus to adjust his
attire and asks Morphides to attend him with the guests' admittance. A commotion
is heard outside and a citizen, a citizen's wife, and a tailor demand entrance.
The citizen says that his wife's brother is in the palace and he wants to join
him. Morphides prevents the commoners from entering by closing the door on them.
He allows in only the ladies Phantaste, Philautia, Argurion, and Moria, and the
courtiers Hedon and Anaides. In addition, Hedon admits two masked ladies. Hedon
introduces one of them as his friend, a country lady, and Anaides introduces the
other as his cockatrice. When the other commoners appear at the door, Morphides
pushes them back. It is understood that Morphides attends the entertainment and
the subsequent disgrace of the vain nymphs and courtiers.
MORUS
Morus is a page to Asotus. When Moria sees that Asotus lavishes rich gifts on
the ladies, she intends to control his prodigality and turn it in her favor.
Thus, she recommends him a new page, a nephew of hers. Morus enters following
Asotus and Moria, who re-join the party of nymphs and gallants at court. Asotus
tells Morus to persuade his aunt to give him her picture by any means, and Morus
entreats Moria to do so. Moria pretends to accept reluctantly and she uses Morus
as an intermediary, thus indicating he is her favorite. Morus tells the
courtiers that Asotus gave him his purse and has promised him a fine dog, which
he will have drawn with his picture. Morus acts as an intermediary between
Asotus and the nymphs, introducing the extravagant gallant to the ladies and
mediating Asotus's rich gifts to the ladies. When Argurion pretends to faint,
probably in order to prevent Asotus from spending his money on the other nymphs,
Morus follows Asotus, helping his master to carry Argurion away. Morus re-enters
reporting that Argurion kissed him when they were alone and made a pass at him.
According to Morus, the fickle Argurion said she used to love Asotus but he cast
her off and now she loves his page. When Asotus gives a ruby ring to Anaides as
a token of their acquaintance, Morus says he loves his master well. Flattering
Asotus and entreating him to love Morus for his aunt's sake, the page alludes
that he would like to have his master's new clothes when he has done with them.
When the masters leave, after having drunk of the miracle fountain water, the
pages stay behind and gossip, then they leave. It is understood that Morus
attends Cynthia's revels with the other impertinent pages and shares in the
punishment inflicted on the self-conceited nymphs and gallants.
NARCISSUS
Narcissus or daffodil is Echo's beloved and a "ghost character." According to
Greek mythology, a beautiful nymph named Echo fell helplessly in love with
Narcissus. Narcissus refused to love Echo. In punishment, the goddess Aphrodite
condemned him to fall in love with his own image. Forced to gaze constantly at
his reflection in a clear pool, Narcissus pined away and died. In pity, the gods
changed Narcissus into a lovely flower bending its head on the water. Beside the
fountain in the valley of Gargaphie, Echo laments the death of her lover and
names the place in which her beloved Narcissus lost his life the fountain of
Self-love.
NEPTUNE
Only mentioned. In Roman mythology, Neptune corresponds to the Greek sea-god
Poseidon. He is usually shown as a bearded man holding a trident and standing in
a shell being drawn over the sea. When Cupid enumerates Mercury's famous actions
of legerdemain, he says that Mercury stole Neptune's trident. Reporting that
Mercury stole Neptune's most treasured and symbolic possession Cupid emphasizes
his cousin's ability as a deceiver.
NIOBE
Only mentioned. In Greek mythology, Niobe was the daughter of Tantalus. She
boasted that she and her husband, Amphion, had many children, while Leto had
only two. As punishment, Artemis and Apollo killed all Niobe's children and Zeus
turned Niobe into a stone that wept continually. When Echo sits by the Fountain
of Self-love lamenting her lover's death, she senses that the place is cursed
with tragic deaths. Besides Narcissus's pining away out of self-love, Echo
mentions the deaths of Acteon and Niobe. Echo shows Mercury the statue of
weeping Niobe, a rock brought from the Phrigian mountains to stand there as a
symbol of Diana's revenge. At the revels, Cynthia speaks solemnly declaring the
celebrations concluded and mentioning Niobe's name concerning self-conceit.
Cynthia says that Niobe, by presuming too much, was turned into stone. Cynthia
intends to make her fate a lesson for all self-conceited mortals who dare
challenge divine powers.
PAGE
Mercury is disguised as a Page during the Second Masque at Cynthia's revels,
introducing Eucosmos, Eupathes, Eutolmos, and Eucolos. Mercury/Page begins with
a eulogy of the goddess Cynthia, then tells how the four brothers are the sons
of Eutaxia and they represent the four cardinal virtues of decorum. Each of them
bears a silver javelin, symbolizing that they support princes' courts. According
to Mercury/Page, the four brothers have previously been employed in the palace
of Queen Perfection. Mercury/Page presents the four emblems for each virtue and
the respective mottoes. Thus, Eucosmos represents Elegance, Eupathes - Opulence,
Eutolmos - Audacity, and Eucolos - Good Nature. After having been introduced,
the masques join in a dance, while Mercury/Page retires to the side of the
stage, next to Cupid/Anteros, observing the others. Cupid/Anteros wants to play
one of his pranks and tries to make some of the nymphs and gallants fall in love
with each other, but they only fall in love with themselves. Mercury/Page
explains to Cupid/Anteros that all have drunk of the fountain of Self-love and
are therefore bent to love only themselves. In the end, when the revels are
ended, Cynthia discovers that Mercury is disguised as a Page.
PERFUMER
Signior Fig is the perfumer serving the affected courtiers. He is summoned at
their party together with the tailor, barber, milliner, jeweler, and
feather-maker. Mercury, disguised as a Frenchified Gentleman, uses and abuses
these merchants, thus showing the gallants how ridiculous they are. While Barber
is cutting his hair and trimming his mustache, Amorphus asks Perfumer about the
quality of his scent. Perfumer says that it is pure benjamin, which is the only
spirited scent that ever awakened a Neapolitan nostril. Amorphus says he savors
no sampsuchine in it, and Perfumer responds ironically that he is a Nulli-fidian
if there be not three thirds of sampsuchine in this confection than ever he put
in any. Perfumer offers to mention all the ingredients, giving a long list of
strangely named substances. Moreover, Perfumer says that not only the substances
are important, but also the sorting and mixing in the cologne. At Amorphus's
request, Perfumer scents the courtier with the sophisticated pomade. When
Amorphus asks Signior Fig to help him with his complexion, Perfumer says he has
a mineral ointment specific for this purpose. Perfumer seems to have a
particular sense of humor. When he praises the quality of his perfumed gloves,
he says that you can bury them in a muck hill for seven years, and take them out
and wash them, but they retain their first amber scent. When Mercury asks about
the price of these praised scented gloves, Fig responds that Amorphus pays him
two crowns a pair, but he could give him his love. Mercury abuses Perfumer,
calling him Goodman Sassafras. When Perfumer says he has cosmetics made of crude
mercury, Mercury wants him to use it on his mustache, but he gets furious and
starts beating Perfumer and Barber. It is understood that Perfumer and the other
dealers attend the scene in which the pretentious gallants and nymphs are being
disgraced through Mercury's over-reaction in elegant courtly manners. Perfumer
exits with the rest of the party.
PHANTASTE
Phantaste or Light Wittiness is a nymph and a court lady in Gargaphie. According
to Cupid, motion and ubiquity characterize her and she is everywhere. At court,
Phantaste enters with Moria and Philautia. After lavishing compliments on each
other, Phantaste exits with Moria and Philautia. In an apartment in the palace,
Phantaste enters with the other nymphs. They are expecting the miracle water so
much publicized by Amorphus. While waiting, the vain nymphs and courtiers play
society games and fantasize on who they would like to be. Phantaste says she
wished she were several creatures. Phantaste fantasizes over being an empress, a
duchess, a great lady of state, a waiting woman, a citizen's wife, a coarse
country gentlewoman, a dairy maid, a shepherd's lass, or the queen of fairies.
The entrance of Hedon, Anaides, and Mercury interrupts the nymphs' fantasy.
Phantaste and the entire party of nymphs and gallants drink of the miracle water
and they become even more self-conceited than they already were. At Cynthia's
revels, Phantaste is disguised as Euphantaste in the First Masque. Like all the
nymphs and gallants, Phantaste suffers the shame and ultimate disgrace of her
fellows, and she does the same penance decreed by Crites. Phantaste exits with
the others singing a Palinode. The song is an invocation of the god Mercury, who
is asked to defend them against the dangers of counterfeit and vanity. As part
of the penance, the affected nymphs and courtiers must go to Niobe's stone and
repent. After being purged, they are invited to taste of the water of the Well
of Knowledge and then report of Cynthia's grace.
PHILARGYRUS
Philargyrus is father to Asotus and a "ghost character." When Crites introduces
Asotus to Amorphus, he says that Asotus is son to the late Philargyrus, a
citizen. When Amorphus inquires if Asotus's father was of an eminent position
and means, Crites says he was to have been praetor the next year. It seems that
Philargyrus died before being promoted to an official position of importance.
PHILAUTIA
Philautia or Self-Love is a nymph and a court lady in Gargaphie. According to
Cupid, she is beautiful and she knows it, but she loves herself excessively. At
court, Philautia enters with Moria and Phantaste. After lavishing compliments on
each other, Philautia exits with Moria and Phantaste. In an apartment in the
palace, Philautia enters with the other nymphs. They are expecting the miracle
water so much publicized by Amorphus. When Phantaste and Moria refer to Hedon as
Philautia's admirer, the nymph says she would hear nothing of him and she bears
him at her side only because he makes her look intelligent. When Phantaste
discusses the traveler Amorphus, Philautia says he is ridiculous and he looks
like a Venetian trumpeter in the battle of Lepanto. While waiting for the water,
the vain nymphs and courtiers play society games and fantasize on who they would
like to be. Philautia confesses she wished she were a wise woman who knows
everything that happens at court. Philautia would have everybody in her power.
The entrance of Hedon, Anaides, and Mercury interrupts the nymphs' fantasy.
Philautia and the entire party of nymphs and gallants drink of the miracle water
and they become even more self-conceited than they already were. At Cynthia's
revels, Philautia is disguised as Storge in the First Masque. Like all the
nymphs and gallants, Philautia suffers the shame and ultimate disgrace of her
fellows, and she does the same penance decreed by Crites. Philautia exits with
the others singing a Palinode. The song is an invocation of the god Mercury, who
is asked to defend them against the dangers of counterfeit and vanity. As part
of the penance, the affected nymphs and courtiers must go to Niobe's stone and
repent. After being purged, they are invited to taste of the water of the Well
of Knowledge and then report of Cynthia's grace.
PHRONESIS
Phronesis is a true and virtuous friend recommended by Arete to Crites and a
"mute character." When Crites complains to Arete about the multitude of his
seeming friends, the virtuous nymph tells him that detraction is short-lived,
inviting him to spend a few hours with honored friends, Phronesis and Time.
According to Arete, in their company Crites will be able to think and compose
verses worthy of Cynthia's eyes. Phronesis and Time are part of Cynthia's train
and they enter with her at the revels. Phronesis and Time retire with Cynthia's
retinue after the ceremony.
PHRONIMUS
Phronimus is a worthy gentleman at Cynthia's court and a "ghost character." In a
soliloquy about detraction, Crites says that he disregards Anaides and Hedon's
slanders, because the perpetrators are not worthy of his attention. Had the
opprobrious words emanated from good Chrestus, Euthus, or Phronimus, Crites
argues that he would have been moved and tried to question and improve his
actions.
PROLOGUE
At the third sounding, First Child comes forward and speaks the Prologue. Since
Third Child had already introduced the play's setting, characters, and plot, in
lieu of prologue, First Child as Prologue only appeals to the audience in
Author's name. Prologue says that Author hopes his audience is led by their good
judgment in censuring the play. Therefore, Prologue says, Author would open
himself to those members of the audience who are conducted by the light of
reason, not those who are swayed by the adulterated opinions of others. Prologue
says that Author is trying new ways to entice the audience's learned ears,
because his muse neither loves nor fears ignorance, nor does she hunt after
popular applause. According to Prologue, speaking in Author's name, the muse
wants her garland to be made by those critics who can define what true merit is.
Author knows that his poesy favors words above action, and matter above words.
After commending Author to the audience, Prologue exits.
PROSAITES
Prosaites or Beggar is Asotus's attendant. Before the Fountain of Self-love,
Prosaites enters with Cos, offering his services as a servant to the courtiers.
While Cos follows Amorphus, Prosaites follows Asotus, in the hope that he will
get the job. In an apartment at court, Prosaites is called by Asotus. He enters
and attends on his master, then exits. The pages Prosaites, Gelaia, and Cos
enter extolling the wonders of a fountain where all the ladies and gallants lie
languishing and sighing to one another. Prosaites exits with the other pages,
followed by Mercury, to see the miracle fountain. In an apartment at court,
Prosaites enters with Anaides, Gelaia, and Cos, carrying bottles that contain
water from the much-praised fountain. After the party of nymphs and gallants
drink of the water, and they find out that Cynthia will not hold the revels that
night, all disperse. The pages stay behind to gossip for a while. It is
understood that Prosaites is present at Cynthia's revels with the other
impertinent pages and shares the punishment inflicted on the self-conceited
nymphs and gallants.
PROTEUS
Only mentioned. Proteus, in Greek mythology, is a prophetic old man of the sea
who tended the seals of Poseidon. He could change himself into any shape he
pleased, but if he were nevertheless seized and held, he would foretell the
future. The word protean is derived from his name. When Crites complains to
Arete about the superficiality of false friends, he says that some can be like
the subtle Proteus, who can change with all the forms he sees and is often
dishonest. According to Crites, Proteus likes to hover between two factions and
explore both views. Thus, he pretends to be a friend of both parties, being
received well by them and affecting to hold their views. Crites believes that
his Proteus-like friends are, as the satirist describes them, people who owe
their worth only to their crimes.
QUEEN PERFECTION
Queen Perfection is a "ghost character" in the First Masque presented at
Cynthia's revels. Cupid, disguised as Anteros, presents the First Masque,
introducing Storge, Aglaia, Euphantaste, and Apheleia. Cupid/Anteros tells how
these four fair virgins have come from the palace of their Queen Perfection to
visit Cynthia's imperial court. Cupid/Anteros reports that Queen Perfection
could not find a place for these four virgins among men, before her return to
heaven, and advised them to pledge themselves to Cynthia's service. Queen
Perfection, through her emissaries, presents Cynthia with a crystal globe, a
symbol of monarchy and of perfection, dedicated to the moon deity. The crystal
globe refracts many colors, and each color symbolizes one cardinal virtue
represented by the virgins.
SHEPHERDESS
The Shepherdess that Phantaste imagines to become is a "fictional character." In
an apartment in Cynthia's palace, Phantaste, Philautia, Argurion, and Moria are
expecting the miracle water from the fountain of Self-love, so much publicized
by Amorphus. While waiting, the vain nymphs discuss fashion, their admirers, and
fantasize on what they would like to be. While Moria and Philautia imagine they
could be extremely powerful women, Phantaste fantasizes that she could
impersonate many women and do various things. As a Shepherdess, Phantaste
imagines that she could have many shepherds pipe and sing love ditties to her.
STORGE
Storge is the first virgin introduced by Cupid/Anteros as part of the First
Masque at Cynthia's revels. She is a "mute character" and is finally discovered
to be Philautia in disguise. According to Cupid/Anteros, Storge is represented
by the color citron and symbolizes reason as an acceptable and harmless form of
self-love. Storge's mission at the court of Queen Perfection was to quicken
minds in the pursuit of honor. Her geometrical symbol is a perpendicular level
upon a cube or square. The motto is "se suo modulo" (by one's own type),
alluding to the true measure of the self. At the end of the revels, when Cynthia
orders the characters to unmask, Storge appears as Philautia, who is punished
together with the other nymphs and gallants.
TAILOR
Asotus's tailor is a "mute character." In an apartment at Cynthia's palace,
Tailor follows Asotus and Amorphus. Asotus is trying a new cloak, as part of his
extravagant courtier's costume, and Amorphus instructs Tailor to leave them and
keep the secret of the new design. Tailor exits.
TAILOR
The tailor serving the affected courtiers is summoned at their party together
with the barber, perfumer, milliner, jeweler, and feather-maker. Mercury,
disguised as a Frenchified Gentleman, uses and abuses these merchants, thus
showing the gallants how ridiculous they are. While Barber is cutting and
trimming Mercury's hair during the elegance contest, he asks Tailor if the cut
is of equal proportion. Tailor answers affirmatively, eulogizing the coiffure.
Since Mercury intends to overdo the courtiers' affected ways, he pretends that
Tailor is wrong and starts abusing and beating him. Since Tailor has learned his
lesson about expressing an opinion before such a difficult gentleman, when
Mercury asks him if the perfume suits him well, Tailor says he should let his
mistress be the judge. However, at Mercury's insistence, Tailor remarks there is
never a mistress in the world that can mistake such a scent. At this point,
Mercury starts abusing Tailor's wife, telling him that the good wife tailor has
only the judgment to heat her husband's pressing tool, not the capacity to
appreciate perfumes. It is understood that Tailor and the other dealers attend
the scene in which the pretentious gallants and nymphs are being disgraced
through Mercury's over-reaction in elegant courtly manners. Tailor exits with
the rest of the party.
TAILOR'S WIFE
Tailor's wife is a "ghost character." The tailor serving the affected courtiers
is summoned at their party together with the barber, perfumer, milliner,
jeweler, and feather-maker. Mercury, disguised as a Frenchified Gentleman, uses
and abuses these merchants, thus showing the gallants how ridiculous they are.
While Barber is cutting and trimming Mercury's hair during the elegance contest,
he asks Tailor if the cut is of equal proportion. Tailor answers affirmatively,
eulogizing the coiffure. Since Mercury intends to overdo the courtiers' affected
ways, he pretends that Tailor is wrong and starts abusing and beating him. Since
Tailor has learned his lesson about expressing an opinion before such a
difficult gentleman, when Mercury asks him if the perfume suits him well, Tailor
says he should let his mistress be the judge. However, at Mercury's insistence,
Tailor remarks there is never a mistress in the world that can mistake such a
scent. At this point, Mercury starts abusing Tailor's wife, telling him that the
good wife tailor has only the judgment to heat her husband's pressing tool, not
the capacity to appreciate perfumes.
THAUMA
Thauma is a personage in Cynthia's train and a "mute character." Thauma attends
the revels and retires with Cynthia's retinue.
TIME
Time is a true and virtuous friend recommended by Arete to Crites and a "mute
character." When Crites complains to Arete about the multitude of his seeming
friends, the virtuous nymph tells him that detraction is short-lived, inviting
him to spend a few hours with honored friends, Time and Phronesis. According to
Arete, in their company Crites will be able to think and compose verses worthy
of Cynthia's eyes. Time and Phronesis are part of Cynthia's train and they enter
with her at the revels. Time and Phronesis retire with Cynthia's retinue after
the ceremony.
ULYSSES
Only mentioned. Ulysses or Odysseus is a fine warrior and the cleverest of the
Achaean commanders in the Iliad. The Odyssey relates the adventures of Odysseus
on return from the ten-year Trojan War. After ten years fighting the war,
Ulysses spends another ten years sailing back home to his wife and family.
During his ten-year voyage, he loses all of his comrades and ships and makes his
way home to Ithaca disguised as a beggar. When Asotus and Amorphus exchange
beavers as a token of their friendship, Amorphus tells his new friend, in his
characteristic grandiloquent style, that the hat is a souvenir he would not so
easily have parted with. According to Amorphus, a great man in Russia gave him
this coif as a present, claiming that it accompanied Ulysses in his long
ten-year travel.
VENUS
Only mentioned. In Roman mythology, Venus was the goddess of love, mother to
Cupid. When Cupid enumerates Mercury's famous actions of legerdemain, he says
that Mercury stole Venus's girdle when she stooped to embrace him. Reporting
that Mercury stole Venus's most symbolic possession Cupid emphasizes his
cousin's ability as a deceiver.
VULCAN
Only mentioned. In Roman mythology, Vulcan was the god of forge and metalwork,
his Greek counterpart being Hephaestus. He was skilled in craftsmanship and
forged the armor of the gods. Vulcan was the patron of handicrafts and the
protector of blacksmiths. When Cupid enumerates Mercury's famous actions of
legerdemain, he says that Mercury passed by Vulcan's forge one day and stole a
pair of his new tongs. Reporting that Mercury stole Vulcan's most symbolic
possession Cupid emphasizes his cousin's ability as a deceiver.
WAITING WOMAN
The Waiting Woman that Phantaste imagines to become is a "fictional character."
In an apartment in Cynthia's palace, Phantaste, Philautia, Argurion, and Moria
are expecting the miracle water from the fountain of Self-love, so much
publicized by Amorphus. While waiting, the vain nymphs discuss fashion, their
admirers, and fantasize on what they would like to be. While Moria and Philautia
imagine they could be extremely powerful women, Phantaste fantasizes that she
could impersonate many women and do various things. As a Waiting Woman,
Phantaste imagines that she could taste her lady's delights before she did, and
be able to enjoy all sorts of men.