Christmas: Its Origin and Associations / Together with Its Historical Events and Festive Celebrations During Nineteen Centuries

by W. F. Dawson

CHAPTER VIII.

CHRISTMAS UNDER JAMES I.

(1603-1625.)

Court Masques.

The Court entertainments of Christmastide in the reign of James the First consisted chiefly of the magnificent masques of Ben Jonson and others, who, by their training in the preceding reign, had acquired a mastery of the dramatic art. The company to which Shakespeare belonged (that of Lord Chamberlain's players) became the King's players on the accession of James, and several of Shakespeare's plays were produced at Court. But very early in this reign plays gave place to the more costly and elaborate entertainments called masques, but which were very different from the dumb-show masques of Elizabeth's reign, the masquerades of Henry the Eighth, and the low-buffoonery masques of earlier times. At the Court of James thousands of pounds were sometimes expended on the production of a single masque. To the aid of poetry, composed by poets of the first rank, came the most skilful musicians and the most ingenious machinists. Inigo Jones, who became architect to the Court in 1606, shared honours with Ben Jonson in the production of the Court masques, as did also Henry Lawes, the eminent musician. In some of the masques the devices of attire were the work of "Master Jones," as well as the invention and the architecture of the whole of the scenery. D'Israeli[58] says:—"That the moveable scenery of these masques formed as perfect a scenical illusion as any that our own age, with all its perfection and decoration, has attained to, will not be denied by those who have read the few masques that have been printed. They usually contrived a double division of the scene; one part was for some time concealed from the spectator, which produced surprise and variety. Thus in the Lord's Masque, at the marriage of the Palatine, the scene was divided into two parts from the roof to the floor; the lower part being first discovered, there appeared a wood in perspective, the innermost part being of "releeve or whole round," the rest painted. On the left a cave, and on the right a thicket from which issued Orpheus. At the back of the scene, at the sudden fall of a curtain, the upper part broke on the spectators, a heaven of clouds of all hues; the stars suddenly vanished, the clouds dispersed; an element of artificial fire played about the house of Prometheus—a bright and transparent cloud reaching from the heavens to the earth, whence the eight maskers descended with the music of a full song; and at the end of their descent the cloud broke in twain, and one part of it, as with a wind, was blown athwart the scene. While this cloud was vanishing, the wood, being the under part of the scene, was insensibly changing: a perspective view opened, with porticoes on each side, and female statues of silver, accompanied with ornaments of architecture, filled the end of the house of Prometheus, and seemed all of goldsmith's work. The women of Prometheus descended from their niches till the anger of Jupiter turned them again into statues. It is evident, too, that the size of the procenium accorded with the magnificence of the scene; for I find choruses described, 'and changeable conveyances of the song,' in manner of an echo, performed by more than forty different voices and instruments in various parts of the scene."

The masque, as Lord Bacon says, was composed for princes, and by princes it was played. The King and Queen, Prince Henry, and Prince Charles (afterwards Charles the First) all appeared in Court masques, as did also the nobility and gentry of the Court, foreign ambassadors, and other eminent personages.

In his notes to "The Masque of Queens," Ben Jonson refers several times to "the King's Majesty's book (our sovereign) of Demonology." The goat ridden was said to be often the devil himself, but "of the green cock, we have no other ground (to confess ingenuously) than a vulgar fable of a witch, that with a cock of that colour, and a bottom of blue thread, would transport herself through the air; and so escaped (at the time of her being brought to execution) from the hand of justice. It was a tale when I went to school."

That there was no lack of ability for carrying out the Court commands in regard to the Christmas entertainments of this period is evident from the company of eminent men who used to meet at the "Mermaid." "Sir Walter Raleigh," says Gifford,[59] "previously to his unfortunate engagement with the wretched Cobham and others, had instituted a meeting of beaux esprits at the Mermaid, a celebrated tavern in Friday Street. Of this club, which combined more talent and genius, perhaps, than ever met together before or since, Jonson was a member; and here, for many years, he regularly repaired with Shakespeare, Beaumont, Fletcher, Selden, Cotton, Carew, Martin, Donne, and many others, whose names, even at this distant period, call up a mingled feeling of reverence and respect." Here, in the full flow and confidence of friendship, the lively and interesting "wit-combats" took place between Shakespeare and Jonson; and hither, in probable allusion to them, Beaumont fondly lets his thoughts wander in his letter to Jonson from the country.

"What things have we seen, Done at the Mermaid? heard words that have been, So nimble, and so full of subtle flame, As if that every one from whom they came, Had meant to put his whole wit in a jest," &c.