The Masque of Blackness
The Masque of Blackness was an early Jacobean era masque, first performed at the Stuart Court in the Banqueting Hall of Whitehall Palace on Twelfth Night, 6 January 1605. The masque was written by Ben Jonson at the request of Anne of Denmark, the queen consort of King James I, who wished the masquers to be disguised as Africans. Anne was one of the performers in the masque along with her court ladies, and appeared in blackface makeup.
The plot of the masque follows the ladies arriving at the English Court to be "cleansed" of their blackness by King James; a stage direction that was impossible to fulfill on stage. As a result, The Masque of Beauty was written as a sequel to The Masque of Blackness. (The Masque of Beauty, originally intended for the following holiday season, was displaced by Hymenaei, the masque for the wedding of the Earl of Essex and Frances Howard. Beauty was finally performed in 1608.)
The sets, costumes, and stage effects were designed by Inigo Jones; Blackness was the first of many masques for the Stuart Court on which Jonson and Jones would collaborate. The music for Blackness was composed by Alfonso Ferrabosco.
Jones designed a raised and mobile stage for the masque, forty feet square and four feet off the floor; this was employed for many subsequent masques. The stage contained inner space for the machines that produced stage effects and the technicians who operated them. Blackness introduced effects that Jones would repeat with variation throughout his career as a stage designer: it opened with a tempestuous seascape, simulated by flowing and billowing cloths.
The opening stormy sea was populated with six blue-haired merman-like tritons. The gods Oceanus ("blue") and Niger (black) entered, mounted upon giant seahorses. The twelve daughters of Niger, played by the Queen and her ladies in waiting, entered in the company of a dozen nymphs of Oceanus as torchbearers; the ladies of the Court were dressed in silver and azure, with pearls and feathers in their hair, while the torchbearers, in green doublets with gold puffed sleeves, had their faces, hands, and hair dyed blue. The ladies rode in a great hollow seashell, which seemed to float upon and move with the waves, and was accompanied by six large sea monsters carrying more torchbearers. (With Blackness as with many subsequent masques designed by Jones, one of the aspects of the show most commented upon by witnesses was the dazzling intensity of light involved...which inevitably says something about the normal conditions of life in the Jacobean era.)
The principal cast of the masque:
The masque was controversial in its day, in part for the production's use of body paint instead of masks to simulate dark skin. One observer, Sir Dudley Carleton, expressed a view tinged with the prevailing social biases of the era:
...instead of Vizzards, their Faces and Arms up to the Elbows, were painted black, which was a Disguise sufficient, for they were hard to be known...and you cannot imagine a more ugly sight....
The masque was expensive, costing £3000, and caused consternation amongst some English observers due to the perceived impropriety of the performance.
The texts of The Masque of Blackness and The Masque of Beauty were published together in quarto form in 1608, by the bookseller Thomas Thorpe; they were reprinted in the first folio collection of Jonson's works in 1616.
- Leapman, p. 94.
- Leapman, pp. 73-7.
- Gurr, Andrew. The Shakespearean Stage 1574–1642. Third edition, Cambridge, Cambridge University Press, 1992.
- Jonson, Ben. The Masque of Blackness. 1608. In Ben Jonson: Complete Masques. Ed. Stephen Orgel. New Haven: Yale University Press, 1969. pp. 61–74.
- Leapman, Michael. Inigo: The Troubled Life of Inigo Jones, Architect of the English Renaissance. London, Headline Book Publishing, 2003.