usual in masques of Shirley's era, the work contains a comic anti-masque, with a tavern Host and a Chamberlain, and a dance of "Satyrs and Apes." (The poor Chamberlain is struck by Death with Cupid's arrow, and falls in love with an ape.) The god Mercury eventually intervenes to set things right; Cupid is banished from the courts of princes to common people's cottages (a suitably sober moral for the Puritan regime then in power). The slain lovers are shown rejoicing in Elysium. "Cupid and Death resembles Caroline masque in its use of staging, music, dance, singing and dialogue. Yet it differs in that the masquers take part in the action and they do not dance with the audience at the end...The balance between spoken prose dialogue, recitative and song carries the performance away from masque and towards opera, a form Davenant planned to introduce to the London stage as early as 1639." Cupid and Death was performed at Rutland Boughton's Glastonbury Festival in 1919, by the Consorte of Musicke (notably Anthony Rooley and Emma Kirkby) in 1985, and by the Halastó Kórus (directed by Göttinger Pál) in Budapest in 2008. Notes Sources Clare, Janet. Drama of the English Republic, 1649–60. Manchester, Manchester University Press, 2006. Corns, Thomas N. A History of Seventeenth-Century English Literature. London, Blackwell, 2007. Logan, Terence P., and Denzell S. Smith, eds. The Later Jacobean and Caroline Dramatists: A Survey and Bibliography of Recent Studies in English Renaissance Drama. Lincoln, NE, University of Nebraska Press, 1978. Rose, Martial. Forever Juliet, Dereham, Norfolk, Larks Press, 2003. English Renaissance plays 1653 plays Masques Masques by James Shirley