Summary
The printed edition of The Masque of Blackness begins with a lengthy prologue by Ben Jonson (written after the masque's original performance).
In this prologue, Jonson describes the elaborate setting of the masque and credits architect Inigo Jones with the unique backdrop. He explains that the scenery of the masque is a vast ocean emanating from a horizon.
To open the play, one triton and two sea-maids sing a song introducing Niger to the Western sea.
Oceanus, the king of the floods and Niger's father, asks Niger why he has come to the West from so far away.
Oceanus says he is thrilled to see the waters of the East and West mixing together, but must know why Niger has labored to find him.
Niger assures Oceanus that though their waters mix now, he does not plan on staying in the West.
Niger says that he plans to "sever" his streams from Oceanus's waters eventually, prompting Oceanus to ask once more why Niger has come at all.
Analysis
The Masque of Blackness opens with an elaborate reflection on the original performance, likely written years after the play's early success at the court of King James I.
While this prologue is not necessarily part of the masque proper, it is an important addition to the text as it lends some insight into how the masque was conceived and received at the time Jonson was writing. Crucially, this prologue begins with an apology, or defense, of the original production: Jonson notes that he is adding this "later hand" to address some of the criticisms the masque received, chief among which was the use of makeup to paint the faces of the performers black rather than simply having them wear masks.
This was not, as a contemporary reader might assume, due to the implications of blackface. Instead, critics saw the use of makeup as a denigration of the noble ladies who starred in the masque, specifically Queen Anne of Denmark. To them, to paint one's skin black was to destroy one's noble, aristocratic, or royal image. In the prologue, however, Jonson reminds the reader that the masque was commissioned by Queen Anne and even suggests that the use of blackface makeup was her idea, adding that it helped aid in the "authenticity" of the original performance.
Jonson spends the remainder of the prologue describing in great detail how the masque was organized, including its elaborate setting, costuming, and contributions by the architect Inigo Jones. While this description helps set the scene for the relatively brief performance to follow, Jonson likely had another motive in the composition of this elaborate prologue. Along with its use of makeup, critics of the play also noted how expensive the performance was to put on at court, thereby casting doubt on the King's spending habits. One can see through Jonson's elaborate set description how this performance would have called for a large budget, but Jonson once again uses this prologue as a chance to defend the expenditures as artistically and theatrically necessary.
Thus, the version of the masque as we know it today begins on a subtly defensive note, as the playwright indirectly addresses the original criticisms of the play while reminding readers of the masque's great success.
