Cynthia
Cynthia, also referred to as Diana, is an allegory for Queen Elizabeth I. At the beginning of the play, word comes to the courtiers that Cynthia has declared "solemn revels" in Greece. Cynthia is a figure of authority that all of the characters in the play respect, though she never appears until the very end. When she does appear, she exercises her power by revealing the vices who have been disguised as virtues and directing them to purify themselves as penance. The play ultimately honors Queen Elizabeth and her unparalleled power at the same time it critiques the behavior of those in her court.
The Fountain
The alternate title of Cynthia's Revels is The Fountain of Self-Love, based on the fountain from which the courtiers drink that makes them enamored of themselves. The fountain is a symbol of the Elizabethan court, which Jonson saw as a breeding ground for self-interested and often corrupt behavior. The play lightheartedly mocks the courtiers for their narcissism and suggests that their investment in themselves is their highest priority.
Hedon
Hedon, whose name comes from the term hedonism, or the pursuit of pleasure above all else, is generally considered to be an allegory for John Marston, a fellow early modern English playwright. Cynthia's Revels is part of the poetomachia for War of the Theatres, in which Jonson sparred with Marston and another playwright, Thomas Dekker, through their respective plays. Hedon is a pleasure-seeker whom the play satirizes for his indulgences and lack of self-awareness.
Anaides
Like Hedon, Anaides is an allegorical character, whom many believe to represent Thomas Dekker. Anaides is described in the play as an "arrogating puff," suggesting that he presents himself in an over-inflated way. While nobody can know the true opinions of Jonson's rivals, his portrayal of Hedon and Anaides as ignorant and vain suggests that he found Marston and Dekker's work lackluster and self-serving.
Apparel and Appearance
Given the play's focus on self-love, one of the recurring motifs that appears throughout the performance is the importance of appearance, specifically one's fashion choices. Amorphus makes a point to advise Asotus on his clothing so that he appears more like a courtier, and the ladies of the court judge the gallants largely based on their apparel. The characters' preoccupation with what others are wearing was not completely unfounded, as early modern English sartorial choices often indicated information about one's social or political status.
