John Lyly - [Endymion]
[Gallathea]
Two plays by John LyLy probably performed a couple of years or so before they were printed in 1591. John Lyly was one of the so-called University wits which included Robert Greene, George Peele, Thomas Lodge, Christopher Marlowe and Thomas Nashe. Shakespeare and Thomas Kyd probably did not go to University, but by 1590 they were all part of the London theatrical scene. John Lyly was different from the rest for a number of reasons and this is reflected in the plays that he wrote. He was different because:
He had a toehold in society and sponsorship by Earl of Oxford
He did not have to offer his plays to the adult acting companies
He had partial control of a troupe of acting boys of the Royal Chapel
He had interest in the Blackfriars theatre which was an indoor venue
He wrote plays for Queen Elizabeth and her court
He was already a published author
Other differences to play-writers of the time were that his plays were mostly written in prose. They were printed reasonably quickly after they were written and he was at the time the best selling Elizabethan playwright. His plays had a unique style and he probably did not collaborate with other playwrights, Writing for the court of Queen Elizabeth and writing for a smaller indoor space and a boy troupe of actors resulted in plays that are now easily recognisable as belonging to Lily. He was therefore a little out of the mainstream, but still exerted influence on other playwrights because he was successful.

Lily's first play was printed in 1584 and he had a head start on his contemporaries, however his plays are rarely performed today and he has come to be seen as somewhat irrelevant to early modern theatre. A sort of blind alley. His plays are conservative, usually based on classical sources and stayed very much in the groove of his first successes. Today of course readers can only imagine what they might have looked like performed on stage indoors under candle light, especially as there are very few opportunities to see a modern production. After reading Endymion and Gallathea after plays by Christopher Marlowe and early Shakespeare they already appear a little old fashioned.

In the prologue to Endymion Lily says:

"We present neither comedie, nor tragedie, nor storie nor anything, but that whoever may say it is. Why here is a tale of the man in the moon"

Actually it is a tale of a woman in the moon; Cynthia. Endymion is in love with Cynthia, but he is also courting Tellus and tries to hide from her his love for Cynthia. There is a concurrent story with the boastful Sir Tophas and the servants of Endymion's household. Tellus discovers Endymion's love for Cynthia and tells him not to reach for the moon, but she wants revenge and persuades the old woman Dipsas to cast a spell on Endymion, The spell puts him to sleep on a moon bank for forty years. Cynthia learns of Endymions plight and sends her servants out in the world to find a cure. She banishes Tellus. A cure is found Cynthia wakes Endymion with a kiss and gives him back his youth, and other love stories are resolved.

If this all sounds like lighthearted froth then that is just what it is. It all depends on the strength of Lily's prose which is of a good standard; in his unique style throughout.

Gallathea is a typical story that probably had a basis in Ovid, but Lyly has adapted it for his own purposes. Neptune the sea god demands a human sacrifice from the shepherds of Lincolnshire every five years. It must be the prettiest maiden in the area. The fathers of the prettiest maidens disguise them and send them into the woods. Meanwhile Cupid is amazed at the chaste Nymphs who hunt with the Goddess Diana and resolves to have some target practice with his arrows of love. Gallathea and Phillida are the two disguised maidens and they meet in the woods and fall in love. Diana catches Cupid and clips his wings. Venus the mother of Cupid appeals to Neptune for help and a deal is done with Diana. There is also another story about servants looking for a new master, they try an Alchemist and an Astrologer. Lyly gets to make plenty of jokes and gives some advice on the perils of love, even same sex love, which Venus allows. He also turns his lighthearted comedy on the perils of alchemy and astrology. In this story the Gods are in control.

This play is somewhat shorter than Endymion with even less of a plot. I enjoyed reading through them both, but would not wish to see a live performance 3 stars. ( )

First performed before Queen Elizabeth I in 1588, Endymion was a prototype of the comedies that Shakespeare would become famous for a decade later. The story is mythical but was undoubtedly allegorical, as the "cult of Elizabeth" was in high gear. Much has been written about that, but the allegorical associations may be entirely ignored if one chooses merely to enjoy the action at face value.

Endymion is bewitched by Cynthia, goddess of the Moon. But he is loved by Tellus, who becomes jealous and does what scorned women do in Elizabethan comedies: She resolves to punish him. She conspires with Dipsas, a sorceress, to have a spell put upon him so that he will neither live nor die but sleep eternally. The play revolves around finding a cure for Endymion's enduring sleep, but in the meantime there is high jinx among other lesser characters.

There is Sir Tophas and his servant Epiton, who remind one of Don Quixote and Sancho Panza, but on a less elevated plane. Sir Tophas also puts one in mind of Shakespeare's Falstaff but he is more of a braggart, and he has a pretentious Latin proverb at the ready for every occasion.

There is Endymion's great friend Eumenides who goes off in search of a remedy at the behest of Cynthia. Eumenides loves Semele who cannot see him for dust.

So many years pass while Eumenides is away, that Cynthia and her court despair of Endymion's plight. At last, Eumenides returns with the cure, which prescribes that Cynthia has it in her power to waken Endymion. Cynthia in her wisdom attempts to resolve all disagreements in the wake of Endymion's ordeal.

The plot, such as it is, is pure fluff, but the writing is extraordinary, both in the comic byplay as well as in serious musings. For example, Endymion's apostrophe to Cynthia is almost inspiring. It begins this way:

"O fair Cynthia; oh unfortunate Endymion!
Why was not thy birth as high as thy thoughts, or
Her beauty less than heavenly? Or why are not
thine honors as rare as her beauty or thy fortunes
as great as thy deserts?"

Eumenides delivers a magnificent paean to friendship in which mere romantic love "only tickleth the head with hopes and wishes; friendship the image of eternity in which there is nothing movable, nothing mischievous."

People don't talk or write like this anymore, so it takes some getting used to, but for fans of Elizabethan comedy, the wonderful plays on words and extended metaphors are delightful to read. ( )