The Golden Age: Role List
Characters in the Play
Homer
The narrator of The Golden Age, Homer
introduces each act and closes out the play. He also summarizes the
non-dramatized events that occur between each act, serving as the
playgoerʼs guide to the world of classical myth.
In the classical context,
Homerwas credited with writing the epic poems of the Iliad and the Odyssey, as well as the Homeric Hymns through which we know important myths about the gods, such as the story of Persephone, or the story of how Apollo took over the oracle at Delphi.
1 Lord
2 Lord
3 Lord, sent to the Oracle
Saturn
Saturn is the younger son of Uranus and Vesta, the younger brother of
Titan, and the father of Jupiter. Because he is more popular with
the people, he usurps the throne of Crete from his elder brother,
with Vestaʼs support. Saturn plays three distinct roles in The Golden Age: he begins as our tragic hero,
before quickly becoming a tyrant, and then finally becoming a fully
fledged villain in the final act.
In classical myth, Saturn (Greek equivalent: Kronos/Cronus) was the
father of Jupiter and the king of the Titans. Having overthrown his
own father Uranus, Saturn was in turn overthrown by his son Jupiter.
Although Saturn was originally a god of the harvest, the similarity
between the Greek name Cronus and the Greek word for
time (chronos) resulted
in Saturn becoming associated with time; thus
Father Timeis still frequently depicted with Saturnʼs scythe.
Many Renaissance writers and artists depicted Saturn as a destructive
force of time, possibly due to his association with the scythe; as a
result, both Saturn the figure and Saturn the planet were associated
with melancholy and various evils (Brumble 300–301).
Vesta
Vesta is the dowager queen of Crete, the widowed wife of Uranus, the
mother of Saturn and Titan, and the grandmother of Jupiter. She
supports Saturnʼs bid for the throne, and she comes up with the
scheme to trick Saturn by presenting him with a bowl of blood and
sending Jupiter away to be raised in the court of Melliseus. After
this point, Vesta does not reappear in The Golden
Age.
In classical myth, Vesta (Greek equivalent: Hestia) was the goddess
of the hearth, the sister of Jupiter, and the daughter of Saturn.
Vesta was one of the three virgin goddesses of classical myth, the
other two being Diana and Minerva.
In the Renaissance, Vesta was the subject of two traditions. Some
mythographers described her as the goddess of heavenly fire.
However, others described her as the goddess of earthly fire, or
sometimes as just the earth. According to mythographer Alexander
Ross, when people referred to Vesta as the earth, she was called the
mother of Saturn, but when she was referred to as the earthʼs fire,
she was his daughter (Brumble
347).
Sibylla
Sibylla is the wife of Saturn and the mother of Jupiter. She aids in
Vestaʼs scheme to save Jupiterʼs life, and is later the one who
confesses to Saturn that Jupiter is alive.
In the classical context, the term sibyl referred to
various oracles and prophetesses throughout antiquity in both Greece
and Italy, such as the sibyl at Cumae.
Many Renaissance sources seem to have thought of the sibyls as pagan
versions of Old Testament prophets, and several writers and artists
suggest that the sibyls gave prophecies of the birth of Christ (Brumble 310).
Titan
Titan is the elder son of Uranus and Vesta, and the elder brother of
Saturn. When Saturn takes the throne from him, Titan is upset and
declares he will give up his title only if Saturn agrees to kill any
sons he might have. Later, when Titan learns that Jupiter lives, he
assumes that Saturn has preserved the child on purpose and invades
Crete.
In classical myth, titan was a title bestowed upon
Saturn and his siblings by their father Uranus after they deposed
him; the word roughly means “stretchers”, in reference
to how they stretched beyond their means to seek power. The term
eventually came to be applied to various gods who existed prior to
Jupiterʼs rule.
Lycaon
Lycaon, Titanʼs son, is the king of Pelagia and the father of
Callisto. He is the one who suggests to Titan that Saturn not be
allowed to have heirs. Later, when Jupiter arrives to end a war
between Pelagia and Epyre, Lycaon kills the lord of Epyre he was
given as a hostage, attempting to serve his remains to Jupiter and
his lords in a stew; for this crime, Jupiter overthrows Lycaon.
Later, Lycaon joins his brothers to aid his father in invading
Crete.
In classical myth, Lycaon was a mortal king of Pelagia who, wishing
to test whether Jupiter was truly omniscient, killed one of his own
sons, put his remains in a stew, and served it to Jupiter to see if
he would notice. Immediately recognizing what Lycaon had done,
Jupiter turned Lycaon into a wolf as punishment.
Clown
The Clownʼs main role in The Golden Age is
to provide aid to the royal family of Crete; he first delivers the
infant Jupiter to Melliseusʼ court in secret, then later confirms
the adult Jupiterʼs true parentage, and finally aids Jupiterʼs quest
to seduce Danae by distracting the beldams. On his first appearance,
he summons the Nurse to Sibyllaʼs lying-in chamber and volunteers an
ecomiastic list of Saturnʼs god-like innovations and
achievements.
There is no classical equivalent for the Clown. He is firmly in the
native English dramatic tradition.
Nurse
The nurse delivers Jupiter as a baby. She was with Sibylla and Vesta
when they attempted to kill Jupiter, and later aided the two in
faking Jupiterʼs murder. The nurse is introduced at the same time as
the clown.
While there are nurses in classical myth, the nurse in The Golden Age does not have any specific
classical equivalent. The character has more in common with
comparable figures in English drama.
Jupiter (Jove)
Also called Jove in the text, Jupiter is the main character of The Golden Age after A1. He is the son of Saturn
and Sibylla, but is raised in Epyre by Melliseus. Jupiter is shown
to be a skilled fighter in his conquering of Pelagia, as well as his
defeats of Titan, Enceladus, and Saturn. Jupiter is also
characterized as a predatory womanizer: he rapes Callisto, marries
his sister Juno, seduces Danae, and is said by his brothers to have
lain with many more women besides. In A5 Sc3, Jupiter is appointed
by the Fates to preside over Olympus as the god of the heavens.
In classical myth, Jupiter (Greek equivalent: Zeus) is the king of
the gods, and the god of the sky, storms, lightning, hospitality,
and justice. With his lightning bolts, Jupiter overthrew his father
Saturn. Taking all sources into account, Jupiter is the father of
over 100 children in classical myth, only three of whom are by his
wife Juno.
In Renaissance tradition, Jupiterʼs status as the chief god of the
classical pantheon led him to be heavily associated with the
Christian God, and he was therefore associated in allegories of
Nature with a higher, purer form of air and light. Because of these
two associations, Jupiter was generally regarded as a more orderly
god like Apollo or Minerva, who could stand against gods of the
passions like Venus (Brumble
192–193).
Callisto
Callisto is the daughter of Lycaon. When Jupiter falls in love with
her beauty, Callisto flees and takes refuge with Dianaʼs huntresses.
Jupiter dresses as a woman to pursue Callisto and forces himself
upon her. Exiled from Dianaʼs circle, Callisto gives birth to
Archas, who repeatedly tries to kill her until she leaves him in
Jupiterʼs care. Callisto then departs the stage and does not
return.
In classical myth, Callisto was one of Dianaʼs most loyal huntresses.
Jupiter took on Dianaʼs form to trick and rape Callisto, who became
pregnant. When Callistoʼs pregnancy was discovered by Diana, she was
exiled from Dianaʼs company, whereupon Callisto was transformed into
a bear. Later, when Callistoʼs son encountered his mother, he did
not recognize her and prepared to kill what he thought was an
ordinary bear. To prevent this tragedy, Jupiter turned Callisto into
the constellation Ursa Major.
Most Renaissance philosophy and interpretations of the story of
Callisto viewed her as an allegory for the bestializing effect of
lust (as she transformed into a bear upon losing her virginity, even
though she was the victim rather than the lustful perpetrator), and
as a warning about the importance of taking action to protect oneʼs
(female) virginity (Brumble
62–63).
Satyr
The satyrs in The Golden Age are followers
of Diana, and join her company in both song and the hunt.
In classical myth, satyrs were minor gods of (male) fertility, and
were primarily associated with the wine god Bacchus. Satyrs were
also frequently responsible for acts of rape.
Nymphs
The nymphs are followers of Diana, and seem to be members of her
company. They join the satyrs in song.
In classical myth, nymphs were minor goddesses of natural features,
such as trees, streams, and mountains. They were frequently pursued
by lustful male deities.
Diana
Diana is the goddess of viginity with whom Callisto seeks refuge. She
leads a group of young virgin women, all of whom have sworn oaths of
chastity. With little effort, Jupiter tricks Diana into believing
that he is a woman.
In classical myth, Diana (Greek equivalent: Artemis) was the daughter
of Jupiter. She was the goddess of hunting, the wilderness, and
virginity. Diana was responsible for watching over girls before they
were married, and she was accompanied by a number of nymphs and
mortal maidens who had sworn to remain virgins forever. Diana was
one of three virgin goddesses in classical myth, the other two being
Vesta and Minerva.
Atlanta
Atlanta is one of Dianaʼs huntresses, and appears to be the lead
huntress.
In classical myth, Atalanta (the classical spelling for Atlanta) was
one of the few female heroes. Although she was associated with
Diana, she was not actually a member of Dianaʼs train. Atalanta was
raised by a mother bear, slew the Calydonian boar, and joined
Jasonʼs argonauts in the Argonautica.
Atalanta eventually married the hero Hippomenes.
Aegeon
Aegeon is one of Titanʼs sons, who aids in his invasion of Crete.
He does not have a counterpart in classical myth.
Enceladus
The eldest son of Titan, Enceladus aids his father in his invasion of
Crete.
In classical myth, Enceladus was one of the Gigantes, a group of
giants spawned by Terra in an attempt to overthrow the Olympians.
Enceladus was killed by Minerva and Hercules.
Juno
Juno is the daughter of Saturn and Sibylla. Saturn thinks she is his
only living child. She is also the sister of Jupiter, and marries
him. Juno becomes jealous when Jupiter mentions other women.
In classical myth, Juno (Greek equivalent: Hera) was the sister and
wife of Jupiter, therefore making her queen of the gods. She was the
goddess of marriage and adult women. Juno appeared in myth primarily
to take revenge on Jupiterʼs lovers and children.
Melliseus
Melliseus is the king of Epyre and foster-father of Jupiter.
In classical myth, Melliseus was the father of the nymphs who nursed
Jupiter as an infant. The name roughly means “bee
man”.
Arcas
Arcas is the son of Jupiter and Callisto. When Callisto leaves Arcas
with Jupiter, Jupiter gives Arcas the kingdom of Pelagia and renames
it Arcadia in his honour.
In classical myth, Arcas was the son of Jupiter and Callisto. He was
born after Callisto was turned into a bear, and raised by the people
of Arcadia, where Arcas became the first king. In some versions of
the story, Arcas was transformed into the constellation Ursa Minor
alongside his mother.
Neptune
Neptune is the son of Saturn and Sybilla. He is the younger brother
of Jupiter, and the elder brother of Pluto. Neptune was sent away as
an infant by Vesta, Sybilla, and the nurse, and secretly raised in
Athens where he became king and taught the people how to sail. Upon
learning of his true parentage, Neptune brings his army to Crete to
aid Jupiter against Saturnʼs invasion. In A5 Sc3, the Fates appoint
Neptune to be the god of the seas.
In classical myth, Neptune (Greek equivalent: Poseidon) was the god
of the sea and earthquakes. He was the elder brother of Jupiter;
Neptune complains in the Iliad about the
fact that his younger brother can tell him what to do. Neptune was
also associated with horses, which he is said to have created from
sea foam. Neptune and Minerva competed to be the patron god of
Athens. Minerva won, and the city was named after her (Minervaʼs
Greek equvalent is Athena).
Pluto
Pluto is the youngest son of Saturn and Sybilla, and the younger
brother of Jupiter and Neptune. Like his brothers, Pluto was sent
away from Crete in his infancy by Vesta, Sybilla, and the nurse.
Pluto established a kingdom of raiders in lower Tartary and gathered
great wealth. Upon learning of his true parentage, Pluto brought his
army to Crete to aid Jupiter against Saturn. In A5 Sc3, the Fates appoint
Pluto to preside over Hell as the god of the dead.
In classical myth, Pluto (Greek equivalent: Hades) was the eldest son
of Saturn and the elder brother of Neptune and Jupiter. He was the
god of the dead and presided as king over the Underworld. While
Pluto accepted all deceased mortals into his realm, he was best
known for devising eternal punishments for wicked mortals, such as
having Sisyphus roll a bolder uphill for all eternity. Pluto was the
husband of Proserpine, to whom he generally remained faithful.
Because the Underworld was located under the earth, all of the
riches that could be found under the earth were considered part of
Plutoʼs domain; thus he was also a god of wealth.
1 Beldam
The four beldams were tasked by King Acrisius to guard Danaeʼs tower
against any intruders. Due to the cunning of the clown, the beldams
failed in their task.
2 Beldam
3 Beldam
4 Beldam
Acrisius
Acrisius is the king of Argos, and the father of Danae. Having
received a prophecy that he will be killed by his grandson, Acrisius
constructs a bronze tower in which to imprison Danae, so that she
will not encounter any men and therefore will not have any children.
After Jupiter sneaks into the tower and impregnates Danae, Acrisius
has Danae and her infant son placed on a mastless boat and sent out
to sea; he also condemns the beldams to be burned alive.
In classical myth, Acrisius was a former king of Argos. He was the
father of Danae, and the grandfather of the hero Perseus. When
Acrisius received a prophecy from the oracle that he would be killed
by his grandson, he locked his daughter away in a tower. When Danae
inevitably bore Jupiterʼs son despite her imprisonment, Acrisius had
both her and the infant locked in a box and thrown into the sea.
Many years later, while Acrisus was secretly watching a sporting
event in which Perseus was participating, a discus thrown by Perseus
veered off course and accidentally hit Acrisius in the head, killing
him.
Danae
Danae is the daughter of Acrisius. She is locked in a tower by her
father in order to thwart a prophecy. Entranced by stories of
Danaeʼs beauty, Jupiter sneaks into her tower to woo her. Danae
resists Jupiterʼs advances at first, but eventually falls for him,
and expresses sadness when Jupiter leaves the next morning. When
Acrisius discovers that Danae has had a child, he puts her and her
son on a mastless boat, which eventually winds up on the shores of
Naples. The king of Naples then makes Danae his queen.
In classical myth, Danae was the mother of Perseus by Jupiter. She
was locked in a tower by her father so that she would not bear him
the grandson who was fated to kill him. Upon witnessing Danaeʼs
beauty, Jupiter entered her tower in the form of a shower of gold,
and made her pregnant. Upon discovering that Danae had given birth,
her father locked both Danae and her son in a box, and had them
thrown into the sea. Fortunately, the box floated. Danae and Perseus
eventually washed up on the shores of the island of Seriphos, where
they were rescued by a fisherman. Perseus embarked on his quest to
slay Medusa so that Danae would not have to marry the king of
Seriphos.
Because Jupiter entered Danaeʼs tower as a shower of gold, several
Renaissance writers interpret Danae as an allegory for the
corruptive power of wealth over womenʼs chastity. Other writers,
however, compared Jupiter to the Holy Spirit, and thus compared
Danae to the Virgin Mary (Brumble 93–94).
Tros
Tros is the founder and king of Troy. After Saturn has been dethroned
and chased from Crete, he flees to Troy and shows King Tros his
inventions. Impressed, Tros agrees to lend Saturn the aid of his
army in retaking Crete, but their invasion is unsuccessful.
In classical myth, Tros was the mythological founder-king of
Troy.
Ganymede
Ganymede is the son of King Tros and therefore a prince of Troy. He
accompanies his father in the attempt to help Saturn reclaim the
throne of Crete. While the invasion is unsuccessful, Ganymede
continues to fight even though the army is retreating. Ganymede
challenges Jupiter to a duel and loses; impressed by each otherʼs
valour, the two instead embrace in friendship. In A5 Sc3,
Ganymede follows Jupiter to Olympus on the back of a giant
eagle.
In classical myth, Ganymede was a mortal prince of Troy. One day,
while Ganymede was attending to a flock of sheep, Jupiter looked
down from Olympus and was struck by the young manʼs beauty. Jupiter
took the form of an eagle and carried Ganymede off to Olympus, where
he made Ganymede immortal. Ganymede then became Jupiterʼs
cup-bearer.
Argos Lord
A lord of Argos who informs Jupiter and company of Danaeʼs fate.
Fates
The Fates appear in the dumbshow at the end of A5 to appoint Jupiter,
Neptune, and Pluto their godly domains, and present them with their
regalia.
In classical myth, the Fates were three immortal sisters who presided
over the destinies of all mortals. Their main function was to decide
when a mortal would die, which was symbolized when they cut a thread
that represented the mortalʼs lifespan. In the Theogony, the Fates are said to be the daughters of
Nyx, the personification of night. However, later sources call them
the daughters of Jupiter.
Aeolus
Aeouls appears in the dumbshow
at the end of A5, where the Fates present
him with the winds, over which he will preside.
In classical myth, Aeolus was a mortal king of the floating island of
Aeolia, where he controlled the winds. In the Odyssey, Aeolus presents Odysseus with a bag that
contains all the storm winds, so that no storm will prevent Odysseus
from making it home. However, when Odysseusʼs men open the bag and
the ship is blown back to Aeolia, Aeolus considers this accident to
be an omen from the gods and refuses to help Odysseus a second
time.
Hyperion
A non-speaking character. Enceladus addresses Hyperion in A3 Sc6.
In classical myth, Hyperion was one of the twelve Titans. He was the
son of Uranus and Terra, and the brother of Saturn.
Notes
1.
The narrator of The Golden Age, Homer
introduces each act and closes out the play. He also summarizes the
non-dramatized events that occur between each act, serving as the
playgoerʼs guide to the world of classical myth.
In the classical context,
↑Homerwas credited with writing the epic poems of the Iliad and the Odyssey, as well as the Homeric Hymns through which we know important myths about the gods, such as the story of Persephone, or the story of how Apollo took over the oracle at Delphi.
2.
Saturn is the younger son of Uranus and Vesta, the younger brother of
Titan, and the father of Jupiter. Because he is more popular with
the people, he usurps the throne of Crete from his elder brother,
with Vestaʼs support. Saturn plays three distinct roles in The Golden Age: he begins as our tragic hero,
before quickly becoming a tyrant, and then finally becoming a fully
fledged villain in the final act.
In classical myth, Saturn (Greek equivalent: Kronos/Cronus) was the
father of Jupiter and the king of the Titans. Having overthrown his
own father Uranus, Saturn was in turn overthrown by his son Jupiter.
Although Saturn was originally a god of the harvest, the similarity
between the Greek name Cronus and the Greek word for
time (chronos) resulted
in Saturn becoming associated with time; thus
Father Timeis still frequently depicted with Saturnʼs scythe.
Many Renaissance writers and artists depicted Saturn as a destructive
force of time, possibly due to his association with the scythe; as a
result, both Saturn the figure and Saturn the planet were associated
with melancholy and various evils (Brumble 300–301).
↑3.
Vesta is the dowager queen of Crete, the widowed wife of Uranus, the
mother of Saturn and Titan, and the grandmother of Jupiter. She
supports Saturnʼs bid for the throne, and she comes up with the
scheme to trick Saturn by presenting him with a bowl of blood and
sending Jupiter away to be raised in the court of Melliseus. After
this point, Vesta does not reappear in The Golden
Age.
In classical myth, Vesta (Greek equivalent: Hestia) was the goddess
of the hearth, the sister of Jupiter, and the daughter of Saturn.
Vesta was one of the three virgin goddesses of classical myth, the
other two being Diana and Minerva.
In the Renaissance, Vesta was the subject of two traditions. Some
mythographers described her as the goddess of heavenly fire.
However, others described her as the goddess of earthly fire, or
sometimes as just the earth. According to mythographer Alexander
Ross, when people referred to Vesta as the earth, she was called the
mother of Saturn, but when she was referred to as the earthʼs fire,
she was his daughter (Brumble
347).
↑4.
Sibylla is the wife of Saturn and the mother of Jupiter. She aids in
Vestaʼs scheme to save Jupiterʼs life, and is later the one who
confesses to Saturn that Jupiter is alive.
In the classical context, the term sibyl referred to
various oracles and prophetesses throughout antiquity in both Greece
and Italy, such as the sibyl at Cumae.
Many Renaissance sources seem to have thought of the sibyls as pagan
versions of Old Testament prophets, and several writers and artists
suggest that the sibyls gave prophecies of the birth of Christ (Brumble 310).
↑5.
Titan is the elder son of Uranus and Vesta, and the elder brother of
Saturn. When Saturn takes the throne from him, Titan is upset and
declares he will give up his title only if Saturn agrees to kill any
sons he might have. Later, when Titan learns that Jupiter lives, he
assumes that Saturn has preserved the child on purpose and invades
Crete.
In classical myth, titan was a title bestowed upon
Saturn and his siblings by their father Uranus after they deposed
him; the word roughly means “stretchers”, in reference
to how they stretched beyond their means to seek power. The term
eventually came to be applied to various gods who existed prior to
Jupiterʼs rule.
↑6.
Lycaon, Titanʼs son, is the king of Pelagia and the father of
Callisto. He is the one who suggests to Titan that Saturn not be
allowed to have heirs. Later, when Jupiter arrives to end a war
between Pelagia and Epyre, Lycaon kills the lord of Epyre he was
given as a hostage, attempting to serve his remains to Jupiter and
his lords in a stew; for this crime, Jupiter overthrows Lycaon.
Later, Lycaon joins his brothers to aid his father in invading
Crete.
In classical myth, Lycaon was a mortal king of Pelagia who, wishing
to test whether Jupiter was truly omniscient, killed one of his own
sons, put his remains in a stew, and served it to Jupiter to see if
he would notice. Immediately recognizing what Lycaon had done,
Jupiter turned Lycaon into a wolf as punishment.
↑7.
The Clownʼs main role in The Golden Age is
to provide aid to the royal family of Crete; he first delivers the
infant Jupiter to Melliseusʼ court in secret, then later confirms
the adult Jupiterʼs true parentage, and finally aids Jupiterʼs quest
to seduce Danae by distracting the beldams. On his first appearance,
he summons the Nurse to Sibyllaʼs lying-in chamber and volunteers an
ecomiastic list of Saturnʼs god-like innovations and
achievements.
There is no classical equivalent for the Clown. He is firmly in the
native English dramatic tradition.
↑8.
The nurse delivers Jupiter as a baby. She was with Sibylla and Vesta
when they attempted to kill Jupiter, and later aided the two in
faking Jupiterʼs murder. The nurse is introduced at the same time as
the clown.
While there are nurses in classical myth, the nurse in The Golden Age does not have any specific
classical equivalent. The character has more in common with
comparable figures in English drama.
↑9.
Also called Jove in the text, Jupiter is the main character of The Golden Age after A1. He is the son of Saturn
and Sibylla, but is raised in Epyre by Melliseus. Jupiter is shown
to be a skilled fighter in his conquering of Pelagia, as well as his
defeats of Titan, Enceladus, and Saturn. Jupiter is also
characterized as a predatory womanizer: he rapes Callisto, marries
his sister Juno, seduces Danae, and is said by his brothers to have
lain with many more women besides. In A5 Sc3, Jupiter is appointed
by the Fates to preside over Olympus as the god of the heavens.
In classical myth, Jupiter (Greek equivalent: Zeus) is the king of
the gods, and the god of the sky, storms, lightning, hospitality,
and justice. With his lightning bolts, Jupiter overthrew his father
Saturn. Taking all sources into account, Jupiter is the father of
over 100 children in classical myth, only three of whom are by his
wife Juno.
In Renaissance tradition, Jupiterʼs status as the chief god of the
classical pantheon led him to be heavily associated with the
Christian God, and he was therefore associated in allegories of
Nature with a higher, purer form of air and light. Because of these
two associations, Jupiter was generally regarded as a more orderly
god like Apollo or Minerva, who could stand against gods of the
passions like Venus (Brumble
192–193).
↑10.
Callisto is the daughter of Lycaon. When Jupiter falls in love with
her beauty, Callisto flees and takes refuge with Dianaʼs huntresses.
Jupiter dresses as a woman to pursue Callisto and forces himself
upon her. Exiled from Dianaʼs circle, Callisto gives birth to
Archas, who repeatedly tries to kill her until she leaves him in
Jupiterʼs care. Callisto then departs the stage and does not
return.
In classical myth, Callisto was one of Dianaʼs most loyal huntresses.
Jupiter took on Dianaʼs form to trick and rape Callisto, who became
pregnant. When Callistoʼs pregnancy was discovered by Diana, she was
exiled from Dianaʼs company, whereupon Callisto was transformed into
a bear. Later, when Callistoʼs son encountered his mother, he did
not recognize her and prepared to kill what he thought was an
ordinary bear. To prevent this tragedy, Jupiter turned Callisto into
the constellation Ursa Major.
Most Renaissance philosophy and interpretations of the story of
Callisto viewed her as an allegory for the bestializing effect of
lust (as she transformed into a bear upon losing her virginity, even
though she was the victim rather than the lustful perpetrator), and
as a warning about the importance of taking action to protect oneʼs
(female) virginity (Brumble
62–63).
↑11.
The satyrs in The Golden Age are followers
of Diana, and join her company in both song and the hunt.
In classical myth, satyrs were minor gods of (male) fertility, and
were primarily associated with the wine god Bacchus. Satyrs were
also frequently responsible for acts of rape.
↑12.
The nymphs are followers of Diana, and seem to be members of her
company. They join the satyrs in song.
In classical myth, nymphs were minor goddesses of natural features,
such as trees, streams, and mountains. They were frequently pursued
by lustful male deities.
↑13.
Diana is the goddess of viginity with whom Callisto seeks refuge. She
leads a group of young virgin women, all of whom have sworn oaths of
chastity. With little effort, Jupiter tricks Diana into believing
that he is a woman.
In classical myth, Diana (Greek equivalent: Artemis) was the daughter
of Jupiter. She was the goddess of hunting, the wilderness, and
virginity. Diana was responsible for watching over girls before they
were married, and she was accompanied by a number of nymphs and
mortal maidens who had sworn to remain virgins forever. Diana was
one of three virgin goddesses in classical myth, the other two being
Vesta and Minerva.
↑14.
Atlanta is one of Dianaʼs huntresses, and appears to be the lead
huntress.
In classical myth, Atalanta (the classical spelling for Atlanta) was
one of the few female heroes. Although she was associated with
Diana, she was not actually a member of Dianaʼs train. Atalanta was
raised by a mother bear, slew the Calydonian boar, and joined
Jasonʼs argonauts in the Argonautica.
Atalanta eventually married the hero Hippomenes.
↑15.
Aegeon is one of Titanʼs sons, who aids in his invasion of Crete.
He does not have a counterpart in classical myth.
↑16.
The eldest son of Titan, Enceladus aids his father in his invasion of
Crete.
In classical myth, Enceladus was one of the Gigantes, a group of
giants spawned by Terra in an attempt to overthrow the Olympians.
Enceladus was killed by Minerva and Hercules.
↑17.
Juno is the daughter of Saturn and Sibylla. Saturn thinks she is his
only living child. She is also the sister of Jupiter, and marries
him. Juno becomes jealous when Jupiter mentions other women.
In classical myth, Juno (Greek equivalent: Hera) was the sister and
wife of Jupiter, therefore making her queen of the gods. She was the
goddess of marriage and adult women. Juno appeared in myth primarily
to take revenge on Jupiterʼs lovers and children.
↑18.
Melliseus is the king of Epyre and foster-father of Jupiter.
In classical myth, Melliseus was the father of the nymphs who nursed
Jupiter as an infant. The name roughly means “bee
man”.
↑19.
Arcas is the son of Jupiter and Callisto. When Callisto leaves Arcas
with Jupiter, Jupiter gives Arcas the kingdom of Pelagia and renames
it Arcadia in his honour.
In classical myth, Arcas was the son of Jupiter and Callisto. He was
born after Callisto was turned into a bear, and raised by the people
of Arcadia, where Arcas became the first king. In some versions of
the story, Arcas was transformed into the constellation Ursa Minor
alongside his mother.
↑20.
Neptune is the son of Saturn and Sybilla. He is the younger brother
of Jupiter, and the elder brother of Pluto. Neptune was sent away as
an infant by Vesta, Sybilla, and the nurse, and secretly raised in
Athens where he became king and taught the people how to sail. Upon
learning of his true parentage, Neptune brings his army to Crete to
aid Jupiter against Saturnʼs invasion. In A5 Sc3, the Fates appoint
Neptune to be the god of the seas.
In classical myth, Neptune (Greek equivalent: Poseidon) was the god
of the sea and earthquakes. He was the elder brother of Jupiter;
Neptune complains in the Iliad about the
fact that his younger brother can tell him what to do. Neptune was
also associated with horses, which he is said to have created from
sea foam. Neptune and Minerva competed to be the patron god of
Athens. Minerva won, and the city was named after her (Minervaʼs
Greek equvalent is Athena).
↑21.
Pluto is the youngest son of Saturn and Sybilla, and the younger
brother of Jupiter and Neptune. Like his brothers, Pluto was sent
away from Crete in his infancy by Vesta, Sybilla, and the nurse.
Pluto established a kingdom of raiders in lower Tartary and gathered
great wealth. Upon learning of his true parentage, Pluto brought his
army to Crete to aid Jupiter against Saturn. In A5 Sc3, the Fates appoint
Pluto to preside over Hell as the god of the dead.
In classical myth, Pluto (Greek equivalent: Hades) was the eldest son
of Saturn and the elder brother of Neptune and Jupiter. He was the
god of the dead and presided as king over the Underworld. While
Pluto accepted all deceased mortals into his realm, he was best
known for devising eternal punishments for wicked mortals, such as
having Sisyphus roll a bolder uphill for all eternity. Pluto was the
husband of Proserpine, to whom he generally remained faithful.
Because the Underworld was located under the earth, all of the
riches that could be found under the earth were considered part of
Plutoʼs domain; thus he was also a god of wealth.
↑22.
The four beldams were tasked by King Acrisius to guard Danaeʼs tower
against any intruders. Due to the cunning of the clown, the beldams
failed in their task.
↑23.
Acrisius is the king of Argos, and the father of Danae. Having
received a prophecy that he will be killed by his grandson, Acrisius
constructs a bronze tower in which to imprison Danae, so that she
will not encounter any men and therefore will not have any children.
After Jupiter sneaks into the tower and impregnates Danae, Acrisius
has Danae and her infant son placed on a mastless boat and sent out
to sea; he also condemns the beldams to be burned alive.
In classical myth, Acrisius was a former king of Argos. He was the
father of Danae, and the grandfather of the hero Perseus. When
Acrisius received a prophecy from the oracle that he would be killed
by his grandson, he locked his daughter away in a tower. When Danae
inevitably bore Jupiterʼs son despite her imprisonment, Acrisius had
both her and the infant locked in a box and thrown into the sea.
Many years later, while Acrisus was secretly watching a sporting
event in which Perseus was participating, a discus thrown by Perseus
veered off course and accidentally hit Acrisius in the head, killing
him.
↑24.
Danae is the daughter of Acrisius. She is locked in a tower by her
father in order to thwart a prophecy. Entranced by stories of
Danaeʼs beauty, Jupiter sneaks into her tower to woo her. Danae
resists Jupiterʼs advances at first, but eventually falls for him,
and expresses sadness when Jupiter leaves the next morning. When
Acrisius discovers that Danae has had a child, he puts her and her
son on a mastless boat, which eventually winds up on the shores of
Naples. The king of Naples then makes Danae his queen.
In classical myth, Danae was the mother of Perseus by Jupiter. She
was locked in a tower by her father so that she would not bear him
the grandson who was fated to kill him. Upon witnessing Danaeʼs
beauty, Jupiter entered her tower in the form of a shower of gold,
and made her pregnant. Upon discovering that Danae had given birth,
her father locked both Danae and her son in a box, and had them
thrown into the sea. Fortunately, the box floated. Danae and Perseus
eventually washed up on the shores of the island of Seriphos, where
they were rescued by a fisherman. Perseus embarked on his quest to
slay Medusa so that Danae would not have to marry the king of
Seriphos.
Because Jupiter entered Danaeʼs tower as a shower of gold, several
Renaissance writers interpret Danae as an allegory for the
corruptive power of wealth over womenʼs chastity. Other writers,
however, compared Jupiter to the Holy Spirit, and thus compared
Danae to the Virgin Mary (Brumble 93–94).
↑25.
Tros is the founder and king of Troy. After Saturn has been dethroned
and chased from Crete, he flees to Troy and shows King Tros his
inventions. Impressed, Tros agrees to lend Saturn the aid of his
army in retaking Crete, but their invasion is unsuccessful.
In classical myth, Tros was the mythological founder-king of
Troy.
↑26.
Ganymede is the son of King Tros and therefore a prince of Troy. He
accompanies his father in the attempt to help Saturn reclaim the
throne of Crete. While the invasion is unsuccessful, Ganymede
continues to fight even though the army is retreating. Ganymede
challenges Jupiter to a duel and loses; impressed by each otherʼs
valour, the two instead embrace in friendship. In A5 Sc3,
Ganymede follows Jupiter to Olympus on the back of a giant
eagle.
In classical myth, Ganymede was a mortal prince of Troy. One day,
while Ganymede was attending to a flock of sheep, Jupiter looked
down from Olympus and was struck by the young manʼs beauty. Jupiter
took the form of an eagle and carried Ganymede off to Olympus, where
he made Ganymede immortal. Ganymede then became Jupiterʼs
cup-bearer.
↑28.
The Fates appear in the dumbshow at the end of A5 to appoint Jupiter,
Neptune, and Pluto their godly domains, and present them with their
regalia.
In classical myth, the Fates were three immortal sisters who presided
over the destinies of all mortals. Their main function was to decide
when a mortal would die, which was symbolized when they cut a thread
that represented the mortalʼs lifespan. In the Theogony, the Fates are said to be the daughters of
Nyx, the personification of night. However, later sources call them
the daughters of Jupiter.
↑29.
Aeouls appears in the dumbshow
at the end of A5, where the Fates present
him with the winds, over which he will preside.
In classical myth, Aeolus was a mortal king of the floating island of
Aeolia, where he controlled the winds. In the Odyssey, Aeolus presents Odysseus with a bag that
contains all the storm winds, so that no storm will prevent Odysseus
from making it home. However, when Odysseusʼs men open the bag and
the ship is blown back to Aeolia, Aeolus considers this accident to
be an omen from the gods and refuses to help Odysseus a second
time.
↑Prosopography
Brett Greatley-Hirsch
Brett Greatley-Hirsch is Professor of Renaissance Literature and Textual Studies at
the University of Leeds. He is a coordinating editor of Digital Renaissance Editions, co-editor of the Routledge journal Shakespeare, and a Trustee of the British Shakespeare Association. He is the author (with Hugh
Craig) of Style, Computers, and Early Modern Drama: Beyond Authorship (Cambridge, 2017), which brings together his interests in early modern drama, computational
stylistics, and literary history. His current projects include editions of Hyde Park for the Oxford Shirley (with Mark Houlahan) and Fair Em for DRE, a history of the editing and publishing of Renaissance drama from the eighteenth
century to the present day, and several computational studies of early modern dramatic
authorship and genre. For more details, see notwithoutmustard.net.
Cameron Stirling
Cameron Stirling is an English Honours student at the University of Victoria and the
holder of a 2024–2025 Jamie Cassels Undergraduate Research Award.
James D. Mardock
James Mardock is Associate Professor of English at the University of Nevada, Associate
General Editor for the Internet Shakespeare Editions, and a dramaturge for the Lake
Tahoe Shakespeare Festival and Reno Little Theater. In addition to editing quarto
and folio Henry V for the ISE, he has published essays on Shakespeare, Ben Jonson, and other Renaissance
literature in The Seventeenth Century, Ben Jonson Journal, Borrowers and Lenders, and contributed to the collections Representing the Plague in Early Modern England (Routledge 2010) and Shakespeare Beyond Doubt (Cambridge 2013). His book Our Scene is London (Routledge 2008) examines Jonsonʼs representation of urban space as an element in
his strategy of self-definition. With Kathryn McPherson, he edited Stages of Engagement (Duquesne 2013), a collection of essays on drama in post-Reformation England, and
he is currently at work on a monograph on Calvinism and metatheatrical awareness in
early modern English drama.
Janelle Jenstad
Janelle Jenstad is a Professor of English at the University of Victoria, Director
of The Map of Early Modern London, and Director of Linked Early Modern Drama Online. With Jennifer Roberts-Smith and Mark Kaethler, she co-edited Shakespeare’s Language in Digital Media: Old Words, New Tools (Routledge). She has edited John Stow’s A Survey of London (1598 text) for MoEML and is currently editing The Merchant of Venice (with Stephen Wittek) and Heywood’s 2 If You Know Not Me You Know Nobody for DRE. Her articles have appeared in Digital Humanities Quarterly, Elizabethan Theatre, Early Modern Literary Studies, Shakespeare Bulletin, Renaissance and Reformation, and The Journal of Medieval and Early Modern Studies. She contributed chapters to Approaches to Teaching Othello (MLA); Teaching Early Modern Literature from the Archives (MLA); Institutional Culture in Early Modern England (Brill); Shakespeare, Language, and the Stage (Arden); Performing Maternity in Early Modern England (Ashgate); New Directions in the Geohumanities (Routledge); Early Modern Studies and the Digital Turn (Iter); Placing Names: Enriching and Integrating Gazetteers (Indiana); Making Things and Drawing Boundaries (Minnesota); Rethinking Shakespeare Source Study: Audiences, Authors, and Digital Technologies (Routledge); and Civic Performance: Pageantry and Entertainments in Early Modern London (Routledge). For more details, see janellejenstad.com.
Navarra Houldin
Project manager 2022–present. Textual remediator 2021–present. Navarra Houldin (they/them)
completed their BA in History and Spanish at the University of Victoria in 2022. During
their degree, they worked as a teaching assistant with the University of Victoriaʼs
Department of Hispanic and Italian Studies. Their primary research was on gender and
sexuality in early modern Europe and Latin America.
Sarah Neville
Sarah Neville is an associate professor of English and Theatre, Film and Media Arts
at the Ohio State University. She specializes in early modern English literature,
bibliography, theories of textuality and Shakespeare in performance, chiefly examining
the ways that authority is negotiated in print, digital and live media. She is an
assistant editor of the New Oxford Shakespeare (2016-17), for which she edited five plays in both old and modern-spelling editions,
as well as an associate coordinating editor of the Digital Renaissance Editions. She
regularly publishes on textual theory, digital humanities, pedagogy, and scholarly
editing. Neville’s book, Early Modern Herbals and the Book Trade: English Stationers and the Commodification
of Botany (Cambridge, 2022), demonstrates the ways that printers and booksellers of herbals
enabled the construction of scientific and medical authority in early modern England.
A theatre director and film artist who is a great believer in experiential learning,
Neville is the founder and creative director of Ohio State’s Lord Denney’s Players, an academic theatre company that enables students to see how technologies of textual
transmission have shaped the reception of Shakespeare’s plays.
Thomas Heywood
Bibliography
Brumble, H. David. Classical Myths and Legends in the Middle Ages and Renaissance: A Dictionary of Allegorical
Meanings. Westport: Greenwood Press, 1998.
Orgography
Digital Renaissance Editions (DRE1)
Anthology Leads and Co-Coordinating Editors: Brett Greatley-Hirsch, Janelle Jenstad,
James Mardock, and Sarah Neville.
LEMDO Team (LEMD1)
The LEMDO Team is based at the University of Victoria and normally comprises the project
director, the lead developer, project manager, junior developers(s), remediators,
encoders, and remediating editors.
University of Victoria (UVIC1)
https://www.uvic.ca/Metadata
Authority title | The Golden Age: Role List |
Type of text | Characters |
Publisher | This unpublished text is made available by Linked Early Modern Drama Online in the LEMDO Classroom. |
Series | Digital Renaissance Editions |
Source |
Born-digital role list file is generated from the character list created by Cameron Stirling and Janelle Jenstad in their modernized edition of The Golden Age
|
Editorial declaration | This document uses Canadian spelling. |
Edition | Released with LEMDO Classroom 0.2.1 |
Sponsor(s) |
Digital Renaissance EditionsAnthology Leads and Co-Coordinating Editors: Brett Greatley-Hirsch, Janelle Jenstad,
James Mardock, and Sarah Neville.
|
Encoding description | Encoded in TEI P5 according to the LEMDO Customization and Encoding Guidelines |
Document status | draft |
Funder(s) |
Social Sciences and Humanities Research Council of Canada
Jamie Cassels Undergraduate Research Award (UVic) |
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