Lawes, at that time the most celebrated composer in England. When the
Earl of Bridgewater would give an entertainment at Ludlow Castle to
celebrate his entry upon his office as President of Wales and the
Marches, it was to Lawes that application was made to furnish the
music. Lawes, as naturally, applied to his young poetical acquaintance
Milton, to write the words. The entertainment was to be of that
sort which was fashionable at court, and was called a Mask. In that
brilliant period of court life which was inaugurated by Elisabeth and
put an end to by the Civil War, a Mask was a frequent and favourite
amusement. It was an exhibition in which pageantry and music
predominated, but in which dialogue was introduced as accompaniment or
explanation.

The dramatic Mask of the sixteenth century has been traced by the
antiquaries as far back as the time of Edward III. But in its
perfected shape it was a genuine offspring of the English renaissance,
a cross between the vernacular mummery, or mystery-play, and the Greek
drama. No great court festival was considered complete without such a
public show. Many of our great dramatic writers, Beaumont, Fletcher,
Ben Jonson, Middleton, Dekker, Shirley, Carew, were constrained by the
fashion of the time to apply their invention to gratify this taste for
decorative representation. No less an artist than Inigo Jones must
occasionally stoop to construct the machinery.

The taste for grotesque pageant in the open air must have gradually
died out before the general advance of refinement. The Mask by a
process of evolution would have become the Opera. But it often happens
that when a taste or fashion is at the point of death, it undergoes a
forced and temporary revival. So it was with the Mask. In 1633,
the Puritan hatred to the theatre had blazed out in Prynne's