From: owner-ammf-digest@smoe.org (alt.music.moxy-fruvous digest) To: ammf-digest@smoe.org Subject: alt.music.moxy-fruvous digest V14 #5011 Reply-To: ammf@fruvous.com Sender: owner-ammf-digest@smoe.org Errors-To: owner-ammf-digest@smoe.org Precedence: bulk alt.music.moxy-fruvous digest Friday, September 25 2020 Volume 14 : Number 5011 Today's Subjects: ----------------- Enjoy dating action with new Asian beauties! ["AdoreAsia Team" Subject: Enjoy dating action with new Asian beauties! Enjoy dating action with new Asian beauties! http://buildurown.buzz/g2VeUrIATLpKRxRKQhlEVd0Jy2f5l1zdWXUSdS_W2j4vL2ko http://buildurown.buzz/3V75GxExN73BbpE8zsNZkC4VI9ETJKHY80HmlhkBxJVlndo In Scotland, masques were performed at court, particularly at wedding celebrations, and the royal wardrobe provided costumes. After the Union of the Crowns, at the court of James I and Anne of Denmark, narrative elements of the masque became more significant. Plots were often on classical or allegorical themes, glorifying the royal or noble sponsor. At the end, the audience would join with the actors in a final dance. Ben Jonson wrote a number of masques with stage design by Inigo Jones. Their works are usually thought of as the most significant in the form. Samuel Daniel and Sir Philip Sidney also wrote masques. William Shakespeare included a masque-like interlude in The Tempest, understood by modern scholars to have been heavily influenced by the masques of Ben Jonson and the stagecraft of Inigo Jones. There is also a masque sequence in his Romeo and Juliet and Henry VIII. John Milton's Comus (with music by Henry Lawes) is described as a masque, though it is generally reckoned a pastoral play. Reconstructions of Stuart masques have been few and far between. Part of the problem is that only texts survive complete; there is no complete music, only fragments, so no authoritative performance can be made without interpretive invention. There is a detailed, humorous and malicious account by Sir John Harington of a 1606 masque of Solomon and Sheba at Theobalds. Harington was not so much concerned with the masque itself as with the notoriously heavy drinking at the Court of King James I; "the entertainment went forward, and most of the presenters went backward, or fell down, wine did so occupy their upper chambers". As far as we can ascertain the details of the masque, the Queen of Sheba was to bring gifts to the King, representing Solomon, and was to be followed by the spirits of Faith, Hope, Charity, Victory and Peace. Unfortunately, as Harington reported, the actress playing the Queen tripped over the steps of the throne, sending her gifts flying; Hope and Faith were too drunk to speak a word, while Peace, annoyed at finding her way to the throne blocked, made good use of her symbolic olive branches to slap ------------------------------ End of alt.music.moxy-fruvous digest V14 #5011 **********************************************