Arbaces

Definition and stakes

Portrait of Charles Mills Gayley Charles Mills Gayley,  Francis Beaumont: Dramatist

“ In Philaster and Cupid's Revenge Beaumont's tyrants are sonorific yet shadowy forms; but the king of the Maides Tragedy is a thoroughly visualized monster, and Arbaces in A King and No King stands as an epitome of progressively developed, concrete personality, absolutely distinct from any other figure on Beaumont's stage. In the construction of Evadne and Bacha a similar skill in evolution and individualization is displayed. The latter is an abnormality grown from lust to overweening ambition; the former never loses our sympathy: in her depravity there is the seed of conscience ”
Source: Gutenberg

Portrait of Charles Mills Gayley Charles Mills Gayley,  Francis Beaumont: Dramatist

“ Beaumont's contribution is distinguished by a largeness of utterance and a poetic inevitability, a diversity and mastery of characterization, a philosophical reach, a realism both humorous and terrible, and a power of dramatic creativity and tension, equal to, if not surpassing, any parallel elements or qualities to be found in the joint-plays. Arbaces, in apparent design, is of a Marlowan temper, moody, vainglorious, blinded by self-love, and brooking no rebuke; but he is not merely a braggart and a tyrant, he is brave in fact, and in heart deluded by the assumption that he is also modest. ”
Source: Gutenberg

Richard Folkard,  Plant Lore, Legends, and Lyrics

“ The Romans employed the Arbutus, with other symbolic trees and flowers, at the Palilia, a festival held in honour of the pastoral goddess Pales. It was a Roman custom to deposit branches of the Arbutus on coffins, and Virgil tells us that Arbutus rods and Oak twigs formed the bier of young Pallas, the son of Evander. Horace, in his Odes, has celebrated the shade afforded by the Arbutus. Ovid speaks of the tree as “the Arbutus heavy with its ruby fruit,” and tells us that, in the Golden Age, the fruit afforded food to man. ”
Source: Gutenberg

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