CLERKENWELL AND CLERKS' PLAYS
Parish clerks are immortalised by having given their name to an important part of London. Clerkenwell is the fons clericorum of the old chronicler, Fitz-Stephen. It is the Clerks' Well, the syllable en being the form of the old Saxon plural. Fitz-Stephen wrote in the time of King Stephen: "There are also round London on the northern side, in the suburbs, excellent springs, the water of which is sweet, clear, salubrious, 'mid glistening pebbles gliding playfully; amongst which Holywell, Clerkenwell, (fons clericorum), and St. Clement's Well are of most note, and most frequently visited, as well by the scholars from the schools as by the youth of the City when they go out to take air in the summer evenings."
It was then, and for centuries later, a rural spot, not far from the City, just beyond Smithfield, a place of green sward and gently sloping ground, watered by a pleasant stream, far different from the crowded streets of the modern Clerkenwell. It was a spot famous for athletic contests, for wrestling bouts and archery, and hither came the Lord Mayor, sheriffs, and aldermen at Bartholomew Fair time to witness the sports, and especially the wrestling.
But that which gave to the place its name and chief glory was the fact that once a year at least the parish clerks of London came here to perform their mystery plays and moralities. "Their profession," wrote Warton [57], "employment and character, naturally dictated to this spiritual brotherhood the representation of plays, especially those of the scriptural kind, and their constant practice in shows, processions, and vocal music easily accounts for their address in detaining the best company which England afforded in the fourteenth century at a religious farce for more than a week." These plays were no ordinary performances, no afternoon or evening entertainment, but a protracted drama lasting from three to eight days. In the reign of Richard II, A.D. 1391, the clerks were acting before the King, his Queen, and many nobles. The performances continued for three days, and the representations were the "Passion of Our Lord and the Creation of the World," which so well pleased the King that he commanded £10, a very considerable sum of money in those days, to be paid to the clerks of the parish churches and to divers other clerks of the City of London. Here is the record of his gift:
"Issue Roll, Easter, 14 Ric. II.
"11 July. To the clerks of the parish churches and to divers other clerks of the city of London. In money paid to them in discharge of £10 which the Lord the King commanded to be paid to them of his gift on account of the play of the 'Passion of Our Lord and the Creation of the World' by them performed at Skynnerwell after the feast of St. Bartholomew last past. By writ of Privy Seal amongst the mandates of this term--£10."
[57] English Poetry, vol. ii. p. 397.
Skinners' Well was close to the Clerks' Well, and it was so called, so Stow informs us, "for that the Skinners of London held there certain plays yearly of Holy Scripture,"
A few years later, in the succeeding reign, 10 Henry IV, A.D. 1409, the fraternity of clerks were again performing at the same place. Stow says: "In the year 1409 was a great play at Skynners' Welle, neere unto Clarkenwell, besides London, which lasted eight daies, and was of matter from the creation of the world; there were to see the same the most part of the nobles and gentles in England"--a mighty audience truly, which not even Sir Henry Irving could command in his farewell performances at Drury Lane.
These religious plays or mysteries were a powerful means for instructing the people; and if we had lived in mediæval times, we should not have needed to fly to Ober-Ammergau in order to witness a Passion Play. In the streets of Coventry or Chester, York, or Tewkesbury, Witney, or Reading, or on the Green at Clerkenwell, we could have seen the appealing spectacle; and though sometimes the actors lapsed into buffoonery, and the red demons carrying souls to hell's mouth created merriment rather than terror, and though realism was carried to such a pitch that Adam and Eve appeared in a state of nature, yet many of the spectators would carry away with them pious thoughts and some grasp of the facts of Scripture history, and of the mysteries of the faith. Originally the plays were performed in churches, but owing to the gradually increased size of the stage and the more elaborate stage effects, the sacred buildings were abandoned as the scenes of mediæval drama. Then the churchyard was utilised for the purpose. The clergy no longer took part in the pageants, and in the fourteenth and fifteenth centuries the people liked to act their plays in the highways and public places as at Clerkenwell. The guilds and fraternities in many places provided the chief actors, and in towns where there were many guilds and companies, each company performed part of the great drama, the movable stage being drawn about from street to street. Thus at York the story of the Creation and the Redemption was divided into forty-eight parts, each part being acted by a guild, or group of companies. The Tanners represented God the Father creating the heavens, angels and archangels, and the fall of Lucifer and the disobedient angels. Then the Plasterers showed the Creation of the Earth, and the work of the first five days. The Card-makers exhibited the Creation of Adam of the clay of the earth, and the making of Eve of Adam's rib, thus inspiring them with the breath of life. The Fall, the story of Cain and Abel, of Noah and the Flood, of Moses, the Annunciation and all Gospel history, ending with the Coronation of the Virgin and the Final Judgment.
The stage upon which the clerks performed their plays, according to Strutt, consisted of three platforms, one above another. On the uppermost sat God the Father surrounded by His angels. He was represented in a white robe, and until it was discovered how injurious the process was, the actor who played the part used to have his face gilded. On the second platform were the glorified saints, and on the lowest men who had not yet passed from life. On one side of the lowest platform was hell's mouth, a dark pitchy cavern, whence issued the appearance of fire and flames, and sometimes hideous yellings and noises in imitation of the howlings and cries of wretched souls tormented by relentless demons. From this yawning cave the devils constantly ascended to delight the spectators and afford comic relief to the more serious drama. The three stages were not always used. Archdeacon Rogers, who died in 1595, left an account of the Chester play which he himself saw, and he wrote that the stage was a high scaffold with two rooms, a higher and a lower, upon four wheels. In the lower the actors apparelled themselves, and in the higher they played. But this was a movable stage on wheels. The clerks' stage would, doubtless, be a fixed structure, and of a more elaborate construction.
The dresses used by the actors were very gorgeous and splendid, though little care was bestowed upon the appropriateness of the costumes. The words of the play of the Creation differ in the various versions which have come down to us. Strutt thinks that the clerks' play, acted before "the most part of the nobles and gentles in England," was very similar to the Coventry play, which cannot compare in grandeur and vigour with the York play discovered in the library of Lord Ashburnham, and edited by Miss Toulmin Smith [58]. But as the north-country dialect of the York version would have been difficult for the learned clerks of London to pronounce, their version would doubtless resemble more that of Coventry than that of York. The first act represents the Deity seated upon His throne and speaking as follows:
Ego sum Alpha et Omega, principium et finis.
My name is knowyn, God and Kynge;
My work to make now wyl I wende;
In myselfe resteth my reynenge,
It hath no gynnyng, ne no ende,
And all that evyr shall have beynge
Is closed in my mende; [59]
When it is made at my lykynge
I may it save, I may it shende [60]
After my plesawns." [61]
[58] Clarendon Press, Oxford, 1885. A portion of this is published in Mr. A.W. Pollard's English Miracle Plays.
[59] Mind.
[60] Destroy.
[61] Pleasure.
At the close of this oration, which consists of forty lines, the angels enter upon the upper stage, surround the throne of the Deity, and sing from the Te Deum:
Te Deum laudamus, te dominum confitemur.
The Father bestows much honour and brightness on Lucifer, who is full of pride. He demands of the good angels in whose honour they are singing their songs of praise. Are they worshipping God or reverencing him? They reply that they are worshipping God, the mighty and most strong, who made them and Lucifer. Then Lucifer daringly usurps the seat of the Almighty, and receives the homage of the rebellious angels. Then the Father orders them and their leader to fall from heaven to hell, and in His bliss never more to dwell. Then does Lucifer reply:
"At thy byddyng y wyl I werke,
And pass from joy to peyne and smerte.
Now I am a devyl full derke,
That was an angel bryght.
Now to Helle the way I take,
In endless peyn'y to be put;
For fere of fyr apart I quake
In Helle dongeon my dene is dyth."
Then the Devil and his angels sink into the cavern of hell's mouth.
We cannot follow all the scenes in this strange drama. The final representation included the Descent into Hell, or the Harrowing of Hell, as it was called, when the soul of Christ goes down into the infernal regions and rescues Adam and Eve, Abraham, Moses, and the saints of old. The Anima Christi says:
"Come forth, Adam and Eve, with the,
And all my fryends that herein be;
In Paradyse come forth with me,
In blysse for to dwell.
The fende of hell that is your foe,
He shall be wrappyd and woundyn in woo;
Fro wo to welth now shall ye go,
With myrth ever mo to melle."
Adam replies:
"I thank the Lord of thy grete grace,
That now is forgiven my great trespase;
No shall we dwell in blyssful place."
The accompanying print of the Descent into Hell was engraved by Michael Burghers from an ancient drawing for our Berkshire antiquary, Thomas Herne.
Modern buildings have obliterated the scene of this ancient drama acted by the clerks of London, but some traces of the association of the fraternity with the neighbourhood can still be found. The two famous conventual houses, for which Clerkenwell was famous, the nunnery of St. Mary and the priory of St. John of Jerusalem, founded in 1100, have long since disappeared. Clerks' Close is mentioned in numerous documents, and formed part of the estate belonging to the Skinners' Company, where Skinner Street now runs. Clerks' Well was close to the modern church of St. James's, Clerkenwell, which occupies the site of the church and nunnery of St. Mary de fonte clericorum, which once possessed one of the six water-pots in which Jesus turned the water into wine. Vine Street formerly delighted in the name Mutton Lane, which is said to be a corruption of meeting or moteing lane, referring to the clerks' mote or meeting place by the well. When Mr. Pink wrote his history of Clerkenwell forty years ago, there was at the east side of Ray Street a broken iron pump let into the front wall of a dilapidated house which showed the site of Clerks' Well. In 1673 the spring and plot of ground were given by the Earl of Northampton to the poor of the parish, but the vestry leased the spring to a brewer. Strype, writing in 1720, states that "the old well at Clerkenwell, whence the parish had its name, is still known among the inhabitants. It is on the right hand of a lane that leads from Clerkenwell to Hockley-in-the-Hole, in a bottom. One Mr. Crosse, a brewer, hath this well enclosed; but the water runs from him, by means of a watercourse above-mentioned, into the said place. It is enclosed with a high wall, which was formerly built to bound in Clerkenwell Close; the present well (the conduit head) being also enclosed by another lower wall from the street. The way to it is through a little house, which was the watch-house. You go down a good many steps to it. The well had formerly ironwork and brass cocks, which are now cut off; the water spins through the old wall. I was there and tasted the water, and found it excellently clear, sweet, and well tasted."
In 1800 a pump was erected on the east side of Ray Street to celebrate the parish clerks' ancient performances, which were immortalised in raised letters of iron with this inscription:
A.D. 1800. William Bound, Joseph Bird, Churchwardens. For the better accommodation of the neighbourhood, this pump was removed to the spot where it now stands. The spring by which it is supplied is situated four feet eastward, and round it, as history informs us, the Parish Clerks of London in remote ages commonly performed sacred plays. That custom caused it to be denominated Clerks'-Well, and from which this parish derived its name. The water was greatly esteemed by the Prior and Brethren of the Order of St. John of Jerusalem and the Benedictine Nuns in the neighbourhood.
Hone, in his Ancient Mysteries, describes this pump, which in his day, A.D. 1832, stood between an earthenware shop and the abode of a bird-seller, and states that the monument denoting the histrionic fame of the place, and alluding to the miraculous powers of the water for healing incurable diseases, remains unobserved beneath its living attractions. "The present simplicity of the scene powerfully contrasts with the recollection of its former splendour. The choral chant of the Benedictine Nuns, accompanying the peal of the deep-toned organ through their cloisters, and the frankincense curling its perfume from priestly censers at the altar, are succeeded by the stunning sounds of numerous quickly plied hammers, and the smith's bellows flashing the fires of Mr. Bound's ironfoundry, erected upon the unrecognised site of the convent. The religious house stood about half-way down the declivity of the hill, which commencing near the church on Clerkenwell Green, terminates at the River Fleet. The prospect then was uninterrupted by houses, and the people upon the rising ground could have had an uninterrupted view of the performances at the well."
In the parish there is a vineyard walk, which marks the site of the old vineyard attached to the priory of St. John. The cultivation of the vine was carried on in many monasteries. In 1859, in front of the old Vineyard Inn, a signboard was set up which stated that "This house is celebrated from old associations connected with the City of London. After the City clerks partook of the water of Clerks' Well, from which the parish derives its name, they repaired hither to partake of the fruit of the finest English grapes." This was an ingenious contrivance on the part of the landlord to solicit custom. It need hardly be stated that the information given on this signboard was incorrect. Before the Reformation there were few inns, and the old Vineyard Inn can scarcely claim such a remote ancestry.
When miracle plays ceased to be performed the clerks did not desert their old quarters. It is, indeed, stated that the ancient society of parish clerks became divided; some turned their attention to wrestling and mimicry at Bartholomew Fair, whilst others, for their better administration, formed themselves into the Society of the Mayor, Aldermen, and Recorder of Stroud Green, assembling in the Old Crown at Islington; but still "saving their right to exhibit at the Old London Spaw, formerly Clerks' Well, when they might happen to have learned sheriffs and other officers to get up their sacred pieces as usual." Even so late as 1774 the members of this ancient society were accustomed to meet annually in the summer time at Stroud Green, and to regale themselves in the open air, the number of persons assembling on some occasions producing a scene similar to that of a country wake or fair. These assemblies had no connection with the Worshipful Company of Parish Clerks.