Early Modern Drama · Character Archetypes

AMERULA

in Midas — Lyly, John

Metadata

PlayMidas
AuthorLyly, John
Year (catalogued)1592
First performance1589
Decade1590s
GenreComedy
Play typeBoys Professional
CompanyChildren of Paul's (first)
Theaterbefore the Court;
Speech prefix(es)Am. | Amer.
Words181
Characters925
Typicality0.50 (cosine to cluster centroid)
TCP idA06621
BritDrama no.835
ClusterCluster 12 — Wooers, gallants & courtly love-talk

Important excerpts

Passages from this character's speech that contain the most distinguishing words for Cluster 12 (signor, sal, zelmane, handkerchief, absolon, dissemble…). Matches are highlighted.

must without her love. She on the other side, as one that knew her good, began to look askance, yet felt the passion of love eam ting into her heart, though she dissembled them with her eyes. She casts all our minds in the mould of her own head, and yet erreth as far from our meam nings, as she does from her own modesty.

Full speech

Tell tales. There dwelled sometime in Phrygia, a Lady very fair, but passing froward, as much marveled at for beum tie, as for peevishness misliked. High she was in the instep, but short in the heel; strait laced, but lose bodied. It came to pass, that a gentleman, as young in wit as years, and in years a very boy, chanced to glance his eyes on her, & there were they dazzled on her beauty, as larks that are caught in the Sun with the glittering of a glass. In her fair looks were his thoughts entangled, Like the birds of Canary, that fall into a silken net. Dote he did without measure, and die he must without her love. She on the other side, as one that knew her good, began to look askance, yet felt the passion of love eam ting into her heart, though she dissembled them with her eyes. She casts all our minds in the mould of her own head, and yet erreth as far from our meam nings, as she does from her own modesty.

Plot summary

Plot — Midas
Offered anything he wishes by way of reward for entertaining Baéehus) KingiMidas seeks advice. Two of his lords suggest that he request love and empire respectively; the third proposes gold, which can buy both, so Midas asks that everything he touches should turn to gold. The gift proves to be an inconvenience, turning Midas’s food and even his beard to gold. (A BaBE steals the golden beard from the FSyalibarber, but the barber gets his own back by giving him toothache.) Regretting his folly and his imperialistic designs on other nations, Midas seeks a remedy from the oracle, and washes off the golden touch in a nearby river. On the way home, Midas goes hunting in the woods, gets lost, and encounters Ajpoll6 and Pan ‘The two gods are in dispute over which is the best musician; Midas is asked to judge, and, perversely, chooses Pan. Apollo gives him ass’s ears in reprisal, and he becomes reclusive while rumours spread; even the reeds whisper about his ears. Meanwhile his empire begins to disintegrate and he is unable to achieve his overriding objective, the conquest of Lesbos. Finally he seeks a remedy from the oracle of Apollo, and also proclaims that any further talk about his ass’s ears will cost the speaker his own. The pages inveigle Motto the barber into flouting the edict, and thereby force him to return the golden beard. Midas makes his obeisance at Apollo’s oracle, and is ordered to give up his imperial ambitions; in particular, his ears will only get longer if he continues to covet Lesbos. He agrees, and promises to make annual sacrifices at the oracle. The ass’s ears fall off, and the play ends with praise for Apollo.