To celebrate Twelfth Night in 1605, Ben Jonson staged The Masque of Blackness for King James I, depicting African goddesses seeking to whiten their skin under the sun's light. Guided by the moon goddess Aethiopia, they journey to Britannia, where they believe the king's light will transform them. The masque concludes with a promise that their quest will be fulfilled in a sequel. The masque includes instances of historical blackface performance and mentions the perception of blackness as inferior.

Reviews of Ben Jonson's The Masque of Blackness highlight its rich allegorical content and poetic beauty, praised for innovative stagecraft and inclusion of Black characters. Critics note it exemplifies Jacobean court masques' opulence but also criticize its racial portrayal and lack of depth in character development. Overall, it remains a thought-provoking work within its historical context.

Readers who appreciate historical and allegorical texts, especially those interested in early 17th-century masques, will enjoy Ben Jonson's The Masque of Blackness. Fans of Shakespeare's The Tempest and Spenser's The Faerie Queene will find similar themes of mythology and courtly spectacle.

Fantastical / Mysterious / Adventurous / Romantic

- Premiering on January 6, 1605, The Masque of Blackness was performed at the Banqueting House of Whitehall Palace in London, a venue known for hosting extravagant court masques.
- The masque was noted for its innovative stage effects and lavish use of costumes and makeup, particularly the controversial use of blackface by white actresses to portray African nymphs.
- In The Masque of Blackness, Ben Jonson collaborated with famed architect and stage designer Inigo Jones, who introduced Italianate stage designs and movable scenery to English theater.

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