Early Modern Drama · Character Archetypes

NIGHT

in The Masque at Lord Hay's Marriage (Apollo's Knights) — Campion, Thomas

Metadata

PlayThe Masque at Lord Hay's Marriage (Apollo's Knights)
AuthorCampion, Thomas
Year (catalogued)1607
First performance1607
Decade1600s
GenreMasque
Play typeOccasional
Theaterbefore the Court;Whitehall;
Speech prefix(es)Night | Night. | N.
Words1310
Characters7249
Typicality0.28 (cosine to cluster centroid)
TCP idA17871
BritDrama no.1526
ClusterCluster 24 — Gods, cupids & celestial agents

Important excerpts

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

Full speech

VAnish dark vales, let night in glory shine As she does burn in rage, come leave our shrine You black haired hours, and guide us with your lights, Diana. The Moon and Queen of Vir ginitie, is said to be regent & Empress of Night, and is therefore by Night defen dead as in her quarrel for the lose of the Bride, her vir gin. Flora hath wakened wide our drowsy sprights See where she triumphs, see her flowers are thrown, And all about the seeds of malice sown? Despiteful Flora is't not enough of grief That Cynthia's robbed, but thou must grace the thief? Or didst not here Nights sovereign Queen complain Hymen had stolen a Nymph out of her train. And matched her here plighted henceforth to be Loves friend, and stranger to Virginity And makest thou sport for this? BY virtue of this wand, and touch divine, These Sylvan shadows back to earth resign, Your native forms resume, with habit fair, While solemn music shall enchant the air Presently the Silvans with their four instrume ̄ ts, Either by the simplicity, neg ligence, or con spiracy of the painter, the pass sing away of the trees was some what hazarded the patterene of them the same day having be shown with much and miration, and the 9 trees be king left vnsett together even to the same night. and five voices, began to play, and sing together the song following at the beginning whereof that partly of the stage whereon the first three trees stood be gan to yield, and the three foremost trees gently to sink, and this was effected, by and Ingin placed un der the stage. When the trees had sunk a yard they cleft in three parts, and the Maskers appeared out of the tops of them, the trees were suddenly con uayed away, and the first three Maskers were raised again by the Ingin. They appeared then in a false habit, yet very fair, and in form not much unlike their principal, & true robe. It was made of green taffatie cut into leaves, and laid upon cloth of sil ver, and their hats were suitable to the same. Song of transforma cion. NIght, and Diana charge, And earth obeys Opening large Her secret ways, While Apollos charmed men Their forms receive again. Give gracious Phœbus honour then, And so fallen down, and rest behind the train Give gracious Phœbus honour then and so fallen &c. THus can celestials work in humane fate, Transform, & form as they do love or hate. Like touch, and change receive: the Gods agree The best of numbers is contained in three. The song of transformation again. Night and Diana, &c. The last, & third of nine, touch magic wand, And give them back their forms at nights command Again this song revive and found it High, Long live Apollo Britons glorious eye. Phœbus is pleased, and all rejoice to see His servants, from their golden prison free, But yet since Cinthia hath so friendly smiled, And to you tree-borne Knights, is reconciled, First ere you any more work undertake, About her tree solemn procession make, Diana's tree, the tree of Chastity, That placed alone on yonder hill you see. These green leau'drobes wherein disguised you made Stealths to her Nymph's through the thick forests shade There to the goddess offer thankfully, That she may not in vain appeased be. The night shall guide you, and her hours attend you That no ill eyes, or spirits shall offend you. HEsperus as you with concord came, even so T'is meet that you with continued ̄ cord hence should go Then join you that in voice, and art excel, To give this star a musical farewell. THou breathest sweet poison uva ̄ tun Zephyrus But Cynthia must not be deluded thus. Her holy Forests are by thieves profaned, Her Virgins frighted, and lo, where they stand That late were Phœbus Knights, turned now to trees By Cynthia's vengement for their injuries In seeking to seduce her Nymphs with love: Here they are sixth and never may remove But by Diana's power that stuck them here. Apollos love to them does yet appear, In that his beams hath gilded them a they grow, To make their misery yield the greater show. But they shall tremble when sad Night does speak, And at her stormy words their boughs shall break. I know, and honour it lovely Hesperus, Speak then your message, both are welcome to HEsperus I obey, Night must needs yield when Phœbus gets the day. IF all seem glad, why should we only lower? Since express gladness we have now most power. Frolic graced Captives, we present you here This glass, wherein your liberties appear, Cynthia is pacified, and now blithe Night Begins to shake off melancholy quite. Seems that so full of strangeness to you now? Did not the Thracian harp long since the same? And (if we ripp the old records of fame) Did not Amphions lyre the deaf stones call, When they came dancing to the Theban wall? Can music then joy? joy mountains moves And why not trees? joys powerful when it loves. Could the religious Oak speak Oracle Like to the Gods? and the tree wounded tell to Aeneas his sad story? have trees therefore The instruments of speech, and hearing more Then th'aue of pacing, and to whom but Night Belong enchantments? who can more affright The eye with magic wonders? Night alone Is fit for miracles, and this shall be one Apt for this Nuptial dancing jollity. Earth then be soft and passable to free These fettered roots? joy trees the time draws near When in your better forms you shall appear. Dancing, and music mnst prepare the way, Ther's little tedious time in such delay. This spoken, the four Silvans played on their in struments the first strain of this song following: & at the repetition thereof the voices fell in with the instruments which were thus divided, a Triple and a base were placed near his Majesty, and and other Triple and base near the grove, that the words of the song might be herd of all, because the trees of gold instantly at the first found of their voices began to move, and dance according to the measure of the time which the musicians kept in singing, and the nature of the words which they delivered. Move now with measured found You charmed grove of gold, Song. Trace forth the sacred ground That shall your forms unfold. Diana, and the starry night for your Apollos sake Endue your Sylvan shapes with pour this stram ̄ ge delight to make Much joy must needs the place betide where trees for gladness move, Afairer sighed was never beheld, or more expressing love. Yet nearer Phœbus throne Meet on your winding ways, Your Brydall mirth make known In your high-graced Hayes. Let Hymen led your sliding rounds, & guide the ̄ with his light, While we do Io Hymen sing in honour of this night Join three by three, for so the night by triple spell decrees Now to release Apollos knights from these enchanted trees. COme Flora let us now withdraw our train That th'ecclipst revels may shine forth again 'Tis now a time when (Zephyrus) all with dancing Honour me, above day my state advancing. I'll now be frolic, all is full of heart, And even these trees for joy shall bear a partly. Zephyrus they shall dance. Here stay, Night leaden-eyed, and sprighted grows And her late hours begin to hang their brows Hymen long since the Bridal bed hath dressed, And longs to bring the turtles to their nest. Then with one quick dence found up your delight, And with one song weel bid you all goodnight.

Plot summary

Plot — The Masque at Lord Hay's Marriage (Apollo's Knights)
Flora and Zephyrus strew flowers over the dancing area in honour of the bride and groom. Two sylvans debate in song the relative virtues of maid and wife. Night appears and upbraids Flora for colluding with Hymen in his theft of one of Diana’s nymphs (that is, the bride). She introduces Apollo’s knights, whom Diana has transformed into trees for attempting to seduce her nymphs. Hesperus brings news that Apollo has pacified Diana, and relays her command that Night change the trees back into men. She does, but makes them dance first. After their metamorphosis, they dance again. Night’s servants pull off the leafy camouflage robes in which the knights came wooing, and more dancing follows. It is getting late, and since the happy couple undoubtedly want to go to bed, Night calls an end to the masque; it concludes with another dance and a song. ===== PAGE 358 =====