Brazen age


Also found in: Encyclopedia.
(Myth.) The age of war and lawlessness which succeeded the silver age.
(Archæol.) See under Bronze.

See also: Brazen, Brazen

References in periodicals archive ?
Rather than trying to make a character like Hercules believable to an early modern audience, Heywood makes it virtually impossible for spectators to identify with him, and thus they are better able to reflect upon historical change and assess the different value systems underwriting the brazen age and their own.
17) Heywood, The Brazen Age (London: Nicholas Oakes, 1613), L3v.
The Silver Age was the great flying piece, and The Brazen Age has the largest number of original properties, mainly pasteboard monsters.
The huge boar's head with which Hercules entertains the centaurs in the Silver Age reappears in the Brazen Age in the Meleager story; while Cerberus's three heads and the lion's head in the Silver Age reappear as trophies in Brazen Age.
8) Despite the wide acceptance of this argument, closer inspection reveals that the two plays about Hercules cannot be derived from the poem since it does not deal in large areas of their subject matter, except in the briefest outline, including Jupiter's seductions of Alcmena and Semele, and Hercules' birth in The Silver Age, the Achelous / Deineira / Nesus story, and Hercules' madness and death, nor the stories of Venus coupling with Adonis and Mars in The Brazen Age.
Thus in The Brazen Age where one might have thought Jason's exploits with the bulls ploughing and the armed men springing from the dragon's teeth defied representation, Heywood, within his own terms, has a very steady hand and always finds a solution that will appeal to his audience's imagination:
Nor is there evidence that 2 Hercules/The Brazen Age made much use of flying performers: Medea hangs in the air over a tableau of beasts discovered within a stage facade aperture, presumably using the earlier lift; and at the end, after Hercules has immolated himself:
Even here, however, flying only occurs in the first three Ages plays; it is of a circumspect nature in The Brazen Age (as discussed above); in the prefatory material, only that of The Golden Age indicates performance at the Red Bull, but the present text appears to have two endings--one terminating with the reconciliation of Jupiter and Ganymede, then a puff for the plays that would eventually succeed it, and then a second ending with Jupiter's deification.
Omphale in The Brazen Age is crushed by rocks, and the Empress in Alphonsus Emperor of Germany dragged by the hair (along with many others).
The most obvious reason for rejecting the Hercules story from the poem is that Heywood himself had already devoted most of two plays to these events, and even if he were not referring to his own work, after this statement Heywood would hardly then go on to write the Silver and the Brazen Ages which tell Hercules' story anew.
His poetry begins to turn darker, away from love and youth and towards religion and age: The Brazen Age is now when Earth is worn, Beauty grown sick, Nature corrupt and nought, Pleasure untimely dead as soon as born, Both words and kindness strangers to our thought .