Early Modern Drama · Character Archetypes

AMPHRYSUS

in Apollo and Daphne — Heywood, Thomas

Metadata

PlayApollo and Daphne
AuthorHeywood, Thomas
Year (catalogued)1637
First performance1635
Decade1630s
GenreClassical Myth
Play typeCloset/Unacted (?)
Speech prefix(es)Amph.
Words173
Characters955
Typicality0.36 (cosine to cluster centroid)
TCP idA03241.2
BritDrama no.2509
ClusterCluster 2 — Allegory, Nature & pageant voices

Important excerpts

No keyword-matching excerpt could be extracted (the cluster label doesn't share vocabulary with this character's speech).

Full speech

Your father (Daphne) Counsels with judgement, and this argument I could by many reasons amplify. As, That without succession (one age passed) Mankind should cease to be. Oh what a punishment Deserve they from the gods, that would destroy oh glorious a creation, and to leave oh wonderful a fabric as the world is, To no admirers? Excellent Nymph, These are evasions mere unnecessary; We know you to be ripe, and our selves grown, Betwixt us is equality in state, And parity in years: nor is our course Irregular or indirect, we come Admitted by your father, as a way Plain, and not interdicted: nor is our suit So far with cradle it may childish seem; Nor so old, to appear decrepit: we are two Rivals, yet friends; so you choose one of either, Even he that is despised rests satisfied, Nor is our love divided. You speak but reason: And so long we'll attend you. May these hours That add unto your years, still as you grow, Increase towards us your love.

Plot summary

Plot — Apollo and Daphne
Peneus encourages Daphne to marry and procreate, and introduces two suitors. Evasive and unwilling to commit herself, she asks for a few months’ respite to study men and marriage. In his role as the sun, Apollo has revealed Venus’ adultery with Mars, and she has sworn vengeance. At her instigation, Cupid makes him fall in love with Daphne. Daphne runs away, and Apollo gives chase; but Daphne prays to the chaste goddesses, and is transformed into a laurel tree before Apollo can catch her. Apollo’s infatuation has affected his work as the sun-god, and time has gone haywire: Aurora has to get up early (which displeases her husband), the seasons are beginning to meld into one another, and Day and Night are not getting their proper quota of hours. Apollo asserts his authority over them, but promises to do a better job in future.