The Man in the Moone: or, A Discourse of a Voyage Thither
Frontispiece and title page of the second edition (1657)
The moon has long held a special place in the human imagination. One of the inspirations for Aphra Bern’s Emperor of the Moon—the precursor to this week’s shows—is The Man in the Moone, authored by Bishop Francis Godwin, a seminal work of science fiction that delves into themes of utopian discovery and celestial exploration. Written in the late 1620s and published posthumously in 1638, the narrative follows Domingo Gonsales, a Spanish citizen who flees to the East Indies after a duel. After accumulating wealth through trade, he embarks on a journey back to Spain but becomes ill and lands on the remote island of St. Helena. There, he invents a flying machine powered by trained birds, which ultimately takes him to the Moon.
Frontispiece of Der Fliegende Wandersmann nach dem Mond, 1659
Godwin's work reflects the astronomical theories of his time, drawing inspiration from figures such as Nicolaus Copernicus and Galileo Galilei, while also critiquing societal norms and religious beliefs. The inhabitants of the Moon, known as Lunars, live in a utopian society, which allows Gonsales to explore ideas of harmony and order. Considered one of the earliest examples of science fiction, The Man in the Moone has influenced numerous writers and thinkers, including Cyrano de Bergerac and Edgar Allan Poe, and continues to be a subject of scholarly interest today, inviting readers to contemplate the possibilities of other worlds and our place within them.
Commedia dell'arte
Commedia dell'arte troupe I Gelosi performing, by Hieronymus Francken I, c. 1590
The origins of commedia dell'arte can be traced back to the Atellan farces of ancient Rome, which featured stock characters like the fool and the trickster. By the 15th century, commedia began to take shape as a populist form of entertainment, often performed in public squares and later in royal courts. Troupes would travel throughout Italy and beyond, bringing their lively performances to audiences in France, Germany, Spain, and England.
The 17th century marked the Golden Age of commedia, where its characters and themes found their way into the works of playwrights like Shakespeare and Molière. The humor and antics of commedia dell'arte laid the groundwork for modern comedic forms, with its blend of physical comedy and sharp social commentary.
Commedia dell'arte is a vibrant theatrical form that emerged during the Italian Renaissance, renowned for its improvisational style and distinctive characters, many of whom are instantly recognizable today. The term translates to "Comedy of Art," highlighting the professionalism of its performers, who were among the first to be recognized as professional actors. This genre, which flourished in the 16th and 17th centuries, is characterized by its use of half masks, although many characters performed without them. Iconic figures such as Harlequin, Pantaloon, Punch, and Pierrot have transcended their original performances, influencing art, literature, music, opera, and film across generations and centuries.
Roman mosaic depicting a cast of tragic actors
THE TRADITION OF STOCK CHARACTERS
At the heart of commedia dell’arte lies the tradition of stock characters, archetypal figures that embody specific traits and behaviors. These characters serve as a framework for improvisation, allowing actors to create dynamic and engaging performances while adhering to established roles. Each stock character brings a unique perspective to the narrative, often representing societal archetypes or moral lessons. The interactions among these characters drive the comedic plots, filled with misunderstandings, romantic entanglements, and clever schemes.
As you enjoy the performance, here’s a brief history of the characters you will be seeing:
“Harlequin and Colombina,” by Giovanni Domenico Ferretti
Harlequin (Arlecchino):
Originating in the mid-16th century, Harlequin is perhaps the most famous character from commedia dell’arte. Initially depicted as a cunning servant, he evolved into a more sophisticated figure known for his agility and wit. His iconic costume, adorned with colorful diamonds, symbolizes his playful nature. Harlequin's character has inspired countless adaptations in literature and performance, including the English Harlequinade and pantomime traditions.
Columbina:
Serving as the clever servant and often the voice of reason, Columbina is notable for her quick wit and practicality. She often finds herself in romantic entanglements, particularly with Harlequin, showcasing the interplay of love and humor within the commedia framework.
“Masques et bouffons” (Comedie Italienne). Paris, Michel Levy Freres, 1860, by Maurice Sand
Pantaloon (Pantalone):
Representing a miserly old man, Pantaloon is characterized by his greed and foolishness. His persona often serves as a foil to the younger characters, particularly in love stories. Pantaloon's origins can be traced back to Venetian merchants, and he embodies the archetype of the avaricious elder, frequently thwarted by the cleverness of younger characters.
Pulcinella in a 19th-century Italian print.
Punch (Pulcinella):
A character that has roots in both commedia and English puppet theatre, Punch, also known as Pulcinella, is known for his slapstick style and mischievous behavior. His antics often involve mockery of authority and societal norms, making him a beloved figure in various comedic traditions.
Antoine Watteau: Gilles (or Pierrot) and Four Other Characters of the commedia dell'arte, c. 1718. Musée du Louvre, Paris.
Pierrot:
Initially a sad clown, Pierrot represents the archetype of unrequited love and melancholy. His character is often portrayed as naive and sensitive, providing a contrast to the more boisterous figures in commedia. Pierrot's evolution reflects the changing dynamics of love and comedy, influencing later theatrical traditions.
A Collection of Ball-Dances perform'd at Court
A Collection of Ball-Dances perform'd at Court was published in London in 1706 by John Weaver, showcasing the creative genius of Mr. Isaac, the noted English dancing master. This groundbreaking work is notable for being the earliest collection of dances in Beauchamp-Feuillet notation (a French methodology commissioned by Louis XIV) in London, serving as a companion to Weaver’s translation of Feuillet’s Choregraphie, released in the same year. Advertisements from June 1706 refer to it as the "Second Part" of Orchesography, emphasizing its significance in the realm of dance.
The complication features an array of dances that embody the elegance and sophistication of court life. The dances included are The Richmond, The Rondeau, The Rigadoon, The Favorite, The Spanheim, and The Britannia. The dances are quite distinct from the contemporary French dances that were being published in Paris.
Weaver dedicated the work to Charles Lennox, 1st Duke of Richmond, who likely provided financial support for its publication, even though he was not listed as a subscriber. Today, only two copies of this collection are known to exist in the United States, with a possible third at the British Library.
Song Texts
Blow:
“When from the old Chaos brisk Light started out,
In number and measure the World mov’d about,
In number and measure, the World mov’d about.
Like Volumes of Musick, the Spheres then began
To refresh and enliven the Spirit of Man
All, All, All the Orbs in their turns still our Pleasures
Our Pleasures advance, and by their own movements
And by their own movements, they teach us to dance, to dance
They teach us to dance and love, for nothing else is done above.
The Planets do their Bore’s ( Bouree’s) run,
The moon, the stars dance to the Sun
They dance, and by their consort prove
The power of Harmony and Love;
For by their Influence, we find ourselves to Mirth and Love inclined.
All my past life is mine no more:
All my past life is mine no more,
The flying hours are gone;
Like transitory Dreams giv’n oer
Whose images are kept in store,
By Memory Alone
What ever is to come is not,
How can it then be mine?
The present Moment’s all my lot,
And that as fast as it is got
Phillis wholly Thine.
Then talk not of inconstancy,
False Hearts, and Broken vows;
If I by Miracle can be,
This long-liv’d Minute true to thee
It’s all that Heaven Allows
The Self Banished:
All my past life is mine no more,
The flying hours are gone;
Like transitory Dreams giv’n oer
Whose images are kept in store,
By Memory Alone
What ever is to come is not,
How can it then be mine?
The present Moment’s all my lot,
And that as fast as it is got
Phillis wholly Thine.
Then talk not of inconstancy,
False Hearts, and Broken vows;
If I by Miracle can be,
This long-liv’d Minute true to thee
It’s all that Heaven Allows
The Self Banished:
It is not that I love you less
Than when before your feet I lay;
But to prevent the sad increase
Of hopeless love, I keep away.
In vain ( alas!) for everything
Which I have known belong to you.
Your form does to my fancy bring.
And makes my old wounds bleed anew.
Who in the Spring from the new Sun
Already has a fever got,
Too late begins those shafts to shun,
Which Phoebus through his veins has shot.
Too late he would the pain assuage.
And to shadows thick he doth retire:
About with him he bears the rage,
And in his tainted blood the fire.
But vow’d I have, and never must
Your banished servant trouble you;
For if I break, you may (distrust)
The vow I made to love you too.
Banister:
Ah! How sweet it is to reign!
How Delightful tis to see the begging Eye, and Bended knee!
To hear the Gilded Palace Ring, with Praises of the King!
Kings are Gods and from the lofty Throne,
On all the rest of Men look down,
All bow to them but they submit to none;
With Frowns they kill,
And with a Smile more ravishing Delights they move, than all the fading Sweets of Love.
Pleasure, and Treasure, and Beauty are theirs, to sweeten their Cares;
All Nature gives, or Art can find, to please the Sense and ease the Mind;
The Gods for Monarchs did ordain, ah How Sweet it is to Reign.
Purcell:
Catch Drinking Song “ Would you know how we meet o’re our jolly full Bowls”
Would you know how we meet o’re our jolly full Bowls? As
We mingle our Liquours, we mingle our Souls;
the Sweet melts the Sharp,
The kind soothes the Strong,
and no-thing but Friendship grows all the night long;
We drink, laugh, and celebrate every desire,
Love only remains, our unquenchable Fire.
Dear Pretty Youth:
Dear pretty youth, unveil your eyes,
How can you sleep when I am by?
Were I with you all night to be,
Methinks I could from sleep be free.
Alas! My dear, you’re cold as stone,
You must no longer lie alone,
But be with me my dear, and I in each arm
Will hug you close and keep you warm.
Dry those eyes which are overflowing
Ariel:
Dry those eyes which are o'erflowing,
All your storms are o'erblowing.
While you in this isle (world) are biding,
You shall feast without providing,
Ev'ry dainty you can think of,
Ev'ry wine that you can drink of,
Shall be yours and want will shun you,
Ceres, blessing too, is on you.
From Silent Shades "Bess of Bedlam"
From silent shades, and the Elysian groves,
Where sad departed spirits mourn their loves;
From crystal streams, and from that country where
Jove crowns the fields with flowers all the year,
Poor senseless Bess, cloth’d in her rags and folly,
Is come to cure her lovesick melancholy.
Bright Cynthia kept her revels late,
While Mab, the Fairy Queen, did dance,
And Oberon did sit in state
When Mars at Venus ran his lance.
In yonder cowslip lies my dear,
Entomb’d in liquid gems of dew;
Each day I’ll water it with a tear,
Its fading blossom to renew.
For since my love is dead and all my joys are gone,
Poor Bess for his sake,
A garland will make,
My music shall be a groan.
I’ll lay me down and die
Within some hollow tree,
The rav’n and cat,
The owl and bat,
Shall warble forth my elegy.
Did you not see my love as he pass’d by you?
His two flaming eyes, if he come nigh you,
They will scorch up your hearts?
Ladies, beware ye,
Lest he should dart a glance that may ensnare ye.
Hark! I hear old Charon bawl,
His boat he will no longer stay;
The Furies lash their whips and call,
‘Come, come away.’
Poor Bess will return to the place whence she came,
Since the world is so mad she can hope for no cure;
For love’s grown a bubble, a shadow, a name,
Which fools do admire and wise men endure.
Cold and hungry am I grown,
Ambrosia will I feed upon,
Drink nectar still and sing.
Who is content
Does all sorrow prevent,
And Bess in her straw,
Whilst free from the law,
In her thoughts is as great as a King.
Thus Happy and Free
Fairy Queen:
Thus Happy and Free,
Thus treated are we
With nature’s chiefest Delights.
We never cloy,
But renew our Joy,
And one Bliss another Invites.
(chorus)
Thus wildly we live,
Thus freely we give,
What Heaven as freely bestows.
We were not mad
For Labour and Trade,
Which Fools on each other impose.
Beggar Boy
With my love my love was nested, in the sun of happiness,
O let love my life remove, sith I live not where I love.
From my love my life was wrested, to a world of heaviness
O let love my life remove, sith I live not where I love.
Where truth once was, and is not, Shadows are but vanities
Shewing want; that help they cannot, Are but slaves of miseries.
Painted meat no hunger feeds, Dying life each death exceeds.
O let love my life remove, sith I live not where I love.
O, true Love since thou has left me, Mortal life is tedious;
Death it is to live without thee, Death of all most odious.
Turn again and take me with thee, Let me die, or live you with me.
O let love my life remove, sith I live not where I love.
I'll sail upon the Dog Star,
And then pursue the morning,
I'll chase the moon 'till it be noon,
But I'll make her leave her horning.
I'll climb the frosty mountain,
And there I'll coin the weather;
I'll tear the rainbow from the sky,
And tie both ends together.
The stars pluck from their orbs, too,
And crowd them in my budget!
And whether I'm a roaring boy,
Let all the nations judge it.
Join us for an immersive concert at Grace Cathedral, honoring the 400-year legacy of William Byrd, presented by award-winning British vocal ensemble The Gesualdo Six and the Bay Area’s own Wildcat Viols, in collaboration with Concert Theatre Works. Directed by Bill Barclay, Secret Byrd brings to life the profound spiritual intensity of Byrd’s music in a stunning candlelit setting.
Explore our 2025–2026 season!
