Sock and buskin
It is proposed that this article be deleted because of the following concern:
If you can address this concern by improving, copyediting, sourcing, renaming, or merging the page, please edit this page and do so. You may remove this message if you improve the article or otherwise object to deletion for any reason. Although not required, you are encouraged to explain why you object to the deletion, either in your edit summary or on the talk page. If this template is removed, do not replace it. This message has remained in place for seven days, so the article may be deleted without further notice. Find sources: "Sock and buskin" – news · newspapers · books · scholar · JSTOR Nominator: Please consider notifying the author/project: {{subst:proposed deletion notify|Sock and buskin|concern=This page relies on a single reference which does not support the claims made. Socks and buskins are types of footwear worn in comedies and tragedies respectively; they are not words for masks.}} ~~~~ Timestamp: 20231027093715 09:37, 27 October 2023 (UTC) Administrators: delete |
The sock and buskin (sometimes referring to drama masks or theatrical masks) are two ancient symbols of comedy and tragedy. In ancient Greek theatre, actors in tragic roles wore a boot called a buskin (Latin cothurnus). The actors with comedic roles wore only a thin-soled shoe called a sock (Latin soccus).
-
Sock
-
Buskin
Melpomene, the muse of tragedy, is often depicted holding the tragic mask and wearing buskins. Thalia, the muse of comedy, is similarly associated with the mask of comedy and comic's socks. Some people refer to the masks themselves as "Sock and Buskin."[1]
In modern times, they have been used as an iconographic representation of theatre as a whole.
References
- ^ Charles Mackay (1887). A Glossary of Obscure Words and Phrases in the Writings of Shakspeare and His Contemporaries Traced Etymologically to the Ancient Language of the British People as Spoken Before the Irruption of the Danes and Saxons. S. Low, Marston, Searle, and Rivington. p. 48.