THE PLAYS
The number of plays now existing is twenty-five, but we know that the Assumption has been lost, and there are signs of two plays being compressed into one, as in the Histories of Lot and Abraham, so that the original number was no doubt larger. Fluctuations would undoubtedly take place with the rise and fall of City Companies, if for no other reasons. As the number of gilds expanded or were reduced, so the plays were increased or amalgamated.[38] The list of plays and the gilds that performed them will be found in the “Banes” already printed. The Chester series is noted for two plays that occur nowhere else, viz. No. 23, on Prophecies, and No. 24, on Anti-Christ.
[38] At York the MS. of the plays (c. 1430) shows 48; but in 1415 there had been 51; and another earlier list shows 57.
The English employed seems to be of the beginning of the fifteenth century, many of the stage directions are in Latin, and the Three Kings, Octavian, and Herod occasionally use French, that being the Court language.[39]
[39] It is not generally considered to afford any argument as to the plays being derived from the French.
It is not to be supposed that we have the text of the plays as written at first, for the original plays are without doubt much older than the fifteenth century. We find that the quarrels of Noah and his wife formed so familiar a story that they became proverbial. Chaucer says:—
“Hast thou not heard (quod Nicholas) also
The sorowe of Noe with his felowship
Or that he might get his wife to ship.”
Chaucer wrote this about 1390, and it appears certain, therefore, that our play of Noah, and probably those on the same subject at Wakefield and Newcastle-on-Tyne, were often performed by the middle of the fourteenth century.
The metre employed varies, but a large proportion is in eight line stanzas, sometimes with two rimes:—
a a a b
a a a b
and sometimes with three;
a a a b
c c c b
as may be seen in the following example:—
CHRIST’S ENTRY INTO JERUSALEM
THE CORVYSORS PLAYE
Pagina decima Quarta, de Jesu intrante domum Simonis Leprosi, et de aliis rebus.
Jesus.
a a a b
a a a b
Brethren, goe we to Bethanye,
To Lazarre, Martha, and Marye,
For I love moche their companye!
Thedder nowe will I wende.
Symond the Leaper hath praied me
In his house to take charatye;
With them nowe it liketh me
A whyle for to lende.
Petrus.
a a a b
Lorde, all readye shall we be
In life and death to goe with thee;
Greate joye they maye have to see
Thy cominge into their place.
Philippe.
a a a b
Lazarre thou raysed through thy pittie,
And Symonde also, messille was he,
Thou clensed, Lorde, that wotten we,
And holpe them through thy grace.
Tunc ibunt versus domum Simonis Leprosi.
Lazarrus.
a a a b
c c c b
Welckome, Lorde, sweete Jesu,
Blessed be the tyme that I thee knewe!
From death to liffe through thy vertue
Thou raysed me not yore;
Fower dayes in eairth when I [had] layne,
Thou granteste me life againe.
Thee I honoure with all my mayne,
Nowe and ever more.
But other metres are frequently used.
A very fine dramatic effect is produced in some of the plays by the sudden use of the short Skeltonian metre. In the play of the Passion the Tormentors cry:—
And thou be messye
And loth for to lye
Who smote thee? Crye
If thou be Christe.
Now he is bounden
Be he never so wounden
Soon he shall be founden
With flaps in fear.
In woe he is wounden
And his grain is grounden,
No lad unto London
Such law can him lere (teach).
Again in the Crucifixion:—
Secundus Judaeus.
This coat shall be mine,
For it is good and fine
And seam is not therein
That I can see.
Tercius Judaeus.
Yea, God give me pain
And (if) that shall be thine,
For thou art ever incline
To draw towards thee.
Quartus Judaeus.
Nay, fellow, by this day
At the dice we will play,
And there we shall essay
That weed for to win.
Secundus Judaeus.
His other clothes all
To us four can fall;
First part them I shall
And after play for this.
This kyrtel mine I call,
Take thou this pall,
Each man in this hall
Note I do not amiss.
Again, we get later rhythms grafted on to the original, as in the drinking trio sung by Noah’s wife and her gossips in Noah’s Play.
THE GOOD GOSSIPS’ SONG.
The flood comes flitting in full fast,
On every side it spreads full far;
For fear of drowning I am aghast;
Then, good gossips, let us draw near.
And let us drink ere we depart,
For often times we have done so;
For at a draught thou drinkest a quart,
And so will I do ere I go.
The “Song” concludes with what is probably a portion of the original trio. The other half stanza is unfortunately lost:—
Here is a pottle good and strong,
It will rejoice both heart and tongue;
Though Noah thinks us never so long,
Here we will drink alike.[40]
[40] With revised spelling the whole has a very modern “ring” about it. The first two verses may have been sung as a solo and the last half stanza as a trio.
A similar instance is the Ale-wife’s speech, which has been tacked on to the end of the play The Harrowing of Hell.
In the Resurrection play we have the following. It is one of the finest speeches in the plays:—
Jesus.
Earthly man that I have wrought,
Awake out of thy sleep;
Earthly man that I have bought,
Of me thou hast no keep.
From heaven man’s soul I sought,
Into a dungeon deep,
My dear leman from thence I brought,
For ruth of her I weep.
I am very prince of peace,
And king of free mercy;
Who will of sinnès have release
On me they call and cry.
And if they will of sinnès cease,
I grant them peace truly,
And thereto a full rich messe
In bread my own body.
I am very bread of life;
From heaven I light and am sende,
Who eateth that bread, man or wife,
Shall live with me without end.
And that bread that I give you,
Your wicked life for to amend,
Becomes my flesh through your belief,
And doth release your sinful band.
And whosoever eateth that bread
In sin or wicked life,
He receiveth his own death,
I warn both man and wife.
Three personages other than actors sometimes occupied the stage—a Preco or page, an expositor, and a messenger. They all three appear in the play of The Histories of Lot and Abraham. The page appears on the “pageant carriage” immediately after the play of Noah’s Flood, and says:—
All lordings that be here present,
And hearken me with good intent,
How Noah away from us he went,
And all his company;
And Abraham, through God’s grace,
He is comen into this place,
And ye will give us room and space
To tell you of story.
This play, forsooth, begun shall be
In worship of the Trinity,
That you may all hear and see
That shall be done to-day;
My name is Gobbet-on-the-Green,
With you I may no longer bene;
Farewel, my lordes, bydene
For letting of your play.
The expositor or doctor takes care that the play is “understanded of the people.” He appears early in the play on horseback, and says:—
Lordinges, what maye this signify
I will expound it appeartlye,
That the unlearned standing here by
May know what this may be.[41]
[41] Being on horseback, he would, of course, be more easily heard by the crowd. Everything in the play points to the fact that it was looked upon as a means of instruction for the people, and not a mere amusement. The play itself consists of two plays compressed into one, and seems to be one of the oldest of the series.
He interrupts at different points, and explains the rite of circumcision and the offering up of Isaac, and then we have the remarkable and significant fact that the crowd joins him in prayer.
Here, let the docter knele downe, and saie,
Such obedience grante us, O Lorde!
Ever to thy moste holye worde,
That in the same we may accorde
As this Abraham was bayne;
Then al togaither shall we
That worthy kinge in heaven see,
And dwell with him in greate glorye,
For ever and ever, Amen.
His place is now filled by a messenger, who announces the next play. The stage direction is—
Here the messenger maketh an ende.
Make rombe, lordinges, and give us waye,
And let Balacke come in and plaie,
And Balame that well can saie
To tell you of prophescie.
That Lord that died on Good Frydaie,
He save you all bouth nighte and daie!
Fare well, my lordinges; I goe my waie,
I may no longer abyde.
The ordinary reader has little or no idea of the literary and dramatic value of the plays, owing to the fact that printed copies are not easily accessible.
I have thought it well, therefore, to print (in a slightly shortened form) and to explain the following play.
It embodies most of the points mentioned in this article, it has distinct literary and artistic value, and, above all, the character of Herod made it the most popular play of the cycle, and is often alluded to.
Shakespeare uses the phrase “out-Heroding Herod.” Chaucer says of Joly Absalon:—
Sometyme to shewe his lightness and maistrye
He pleyeth Herodes on a scaffold hye.
In the Paston letters we find Sir John Paston’s agent, in describing the high-handed proceedings of the Duke of Norfolk in 1478, saying, “There was no man that played Herod in Corpus Christi play better and more agreeable to his pageant than he did.”
It will be seen, I think, that the verdict of the general public was a sound and good one.
The Eighth Pageant—“The Three Kings.”
Presented by the Vintners.
This must have been a striking sight, for the Three Kings, richly apparelled, accompanied the pageant-carriage on horseback through the city, and the First King tells how they are looking for the fulfilment of Balaam’s prophecy and seeking a sign.
First King.
Mighty God in majesty,
That ruleth the people of Judye,
When thou on man wilt have pity
And his sins for-bye,
Send some tokening, Lord, to me,
That ylke star that we may see
That Balaam said should rise and be
In his prophecy.
For well I wot, forsooth, I wis,
That his prophecy sooth is,
A star should rise betokening bliss
When God’s son is born.
Therefore, these lords and I in fere (company)
In this mount make our prayer
Devoutly once in the year,
For thereto we be sworn.
Then they dismount, and the Third King hands his horse to attendants:—
“Say, fellows, take this courser
And abyde me right here,
Go we, sirs, to our prayer
I rede now in good faye;
I have done this many a year,
And my ancestors that before me were.
High God, prince of power,
Thou comfort us this day.”
Then they proceed on to the pageant-carriage which represented the “mountain” they had to ascend. On reaching the top, an angel appears carrying a star, and now the Kings burst forth into French:—
First King.
A, Sir Roy, si vous plaist
Gardez sus sur votre test.
Second King.
Une Esteile issi est
Que sir, vous repleist.
Third King.
A loys soyt luy une semblant
De une virgin portant
Comme le semble de une Infant
Embrace apportement.
Then they fall on their knees, and the angel says:—
A! rise up, ye Kings three,
And come along after me
Unto the land of Judye
As fast as you may hie;
The child ye seek there shall ye see,
Borne all of a maiden free,
That King of heaven and earth shall be,
And all mankind for-bye.
Then followed an incident which must have given great pleasure to the sightseers, for the Kings descended into the street[42] and mounted imitation dromedaries! The Second King says:—
Yea, sirs, I rede us every one
Dromodaryes to ride upon,
For swifter beasts be there none.
One I have, you shall see.
[42] In the Coventry plays Herod “rages in the pagond and in the streete also.”
To which the Third King replies:—
A dromodary in good faye
Will go lightly on his way
A hundred miles upon a day,
Such coursers now take we.
And then one MS. has the stage direction:—
“Then the Kinges go doune to the beasts and ride about.”[43]
[43] Chester was accustomed to produce beasts of this sort. In 1564 an agreement between the mayor and two citizens shows that the latter undertook to provide yearly for 40s. “4 gyants, 1 unikorne, 1 dromodarye, 1 Luce, 1 Camel, 1 Dragon,” &c. These were for the midsummer play. Each beast required two men to work it.
After circling round the pageant-carriage they ascend it again, and then, the star having disappeared, they are in doubt as to the right way, but fortunately meet with a messenger or “explorator.”
First King.
Can thou say ought what place and where
A child is born that crown shall bear
And of the Jews be king?
Second King.
We saw a star shine verily
In the East in noble array,
Therefore we come now this way
To worship him with win.
Messenger.
Hold your peace, sir, I you pray
For if King Herod heard you so say
He would go mad, by my fay
And fly out of his skin.
Third King.
And sith a king is so near
Go we to him in all manner.
Messenger.
You may well see he wounes here (lives here)
A palace in to dwell.
But moy he wot, withouten were,
That any is born of more power,
You bring yourselves in great danger
Such tydinges for to tell.
“Here the messenger goeth to the King and the mynstrilles must play,” and the Kings are then introduced to Herod, and Court language again is spoken.
First King.
Sir Roy, royale et reverent,
Dieu vous gardes Omnipotent.
Herod.
Bien soies venues, rois gente;
Me dites toute votre intent.
(Welcome, stranger kings;
Tell me what is your intent.)
Third King.
Infant, queruns de grand parent
Et roi de ciel et terre.
(Seeking a child of great parentage
And king of Heaven and Earth.)
Then Herod bursts forth in the following fine ranting speech:[44]—
[44] It compares very favourably with the “Coventry” play, where the ranting oversteps the mark and becomes balderdash.
Herod.
Sirs, advise ye what you sayen;
Such tidings make my heart unfayne;
I rede you take these words again,
For fear of villany.
There is none so great that me dare gain
To take my realm, and to attain
My power, but he shall have pain
And be punished apertly.
I, king of kings, none so keen;
I, soveraign sire, as well is seen;
I, tyrant, that may both take and teen
Castle, tower, and towne,
I wield this world withouten wene,
I beat all those unbuxsome beene,
I drive the devils all by deene
Deep in hell adowne.
For I am king of all mankind;
I bid—I beat—I loose—I bind,
I master the moon: Take this in mind
That I am most of might.
I am the greatest above degree
That is, or was, or ever shall be.
The sun it dare not shine on me
If I bid him go down.
No rain to fall shall none be free
Nor no Lord have that liberty
That dare abide, and I bid flee,
But I shall crack his crown.
Nor far nor near that doth me (an)noy
Who wrathes me, I shall destroy;
For every freak I dare defie
That nill me pay ne please.
But you be bayne, I shall you beat,
There is no man for you shall treat;
[Then aside] All for wrath see how I sweat;
My heart is not at ease.
And to carry out his pretence that he is not frightened but quite cool, he throws his sword up in the air and dexterously catches it while he continues:—
For all men may witte and see,
Both he and you all three,
That I am King of Galilee
Whatsoever he saith or does.
What the devil should this be!
A boy—a groom of low degree
Should reign above my Royalty
And make me but a goose!
The Kings then answer:—
By prophecy well wotten we
That a childe born should be
To rule the people of Judye
As was said many a year.
Herod says:—
Other kings shall none here be
. . . . .
But seeing you speak of prophecy
Whether ye speak sooth or lye
My clarke soon shall see.
He then bids his “chief of clergy” to look up the books of prophecy and tell him what they say.
Then the doctor reads the scriptures, and amongst other prophecies says:—
Doctor.
Daniel, fulfilled with heavenly grace,
Prophesied also by divine inspiration,
That when he was came, that all holy was,
The most holiest in earth, to take his habitation
In the womb of a virgin, and by his blessed incarnation
Out of Satan’s band to deliver mankind,
Whom sin original piteously did bind,
Then both unctions, sacrifices and rites ceremonial
Of the Old Testament with legal observation,
Shall utterly cease and take their end final,
Through Christ’s coming which for man’s salvation
A New Testament shall ordain by divine operation
Offering himself in Sacrifice for mankind’s offence,
Which from Heaven was exiled through his great negligence.
Herod.
Fie on that dream, reader! such dotards never shall
Nor no sleeping sluggard make my right title cease
But I shall knightly keep it, whatsoever befall,
Against that young godling, and if he once do press
This kingdom to claim, or put me to distress
His head off shall I hew....
Yet look if thou find there
Where this boy is born for whom these kings enquire.
Doctor.
Micheias, enflamed with ghostly inspiration,
Prophesied that Bethlehem should a prince forth bring
Ruler of God’s people and of the Jew’s nation
Should he be born of Israel to be king.
. . . . .
Esay, unto whom the spirit of prophecy
Was singularly given through the Holy Ghost
In this time prophesied that kings witterly,
And folk of strange nations from many a sundry coast,
That prince’s birth to magnify which of might is most
Should walk in great light, and brightness should appear
As did unto these kings in a bright star shining clear.
Herod (throwing his sword down).
Alas, what presumption should move that peevish page
Or any elfish godling to take from me my crown?
But by Mahomet! that boy for all his great outrage
Shall die under my hand, that elfe and vile congeon!
And all his partakers I shall slay and beat down,
And both of him and his final destruction make
Such vengeance, and such cruelty on them all will I take,
That none such a slaughter was seen or heard beforne
Sith Athalia here reigned....
Yet look and search again
If these kings shall find him and his presence attain.
Doctor.
David of all prophets called most prepotent
Prophesied that kings from Tharsis and Araby
With mystical gifts shall come and present
That lord, that king, and high Messie (Messiah),
That in Bethlehem shall be borne,
A child to save that was forlorne,
And rule all Israel.
Herod (breaking his sword in his rage).
By Mahoun! thou art foresworn.
Have done; these books were best rent and torn.
[Throws the book on the floor.
For he shall be no king in crown
But I fully in my weal.
And mauger David, that shepherd with his sling
Esay, Jeremy with all their offspring
Here get no other Messiah nor king
From my right title to expel,
. . . . .
This realm is mine and shall be aye
Manfully to maintain it while I may.
Tho’ he bring with him to-day
The devil and all his host.
Then, concealing his anger, he turns to the Kings and suavely says:—
But go ye forth ye kings three
And enquire if it so be
But always come again to me,
For you I think to feed.
And if he be of such degree
Him will I honour as do ye,
As falls for his dignity,
In word, thought and deed.
First King.
By leave, sir, and have good day
Till we come again this way.
Second King.
Sir, as soon as ever we may
And as we see so shall we say.
Third King.
And of his riches and his array
From you we shall not leave.
Herod.
Farewell Lords, in good faye
But hye you fast again.
Immediately the Kings retire, Herod breaks forth again:—
Out alas! what the devil is this?
For shame almost I fare amiss
For was I never so cool, I wyss
For wrath I am near woode (mad)!
For every man may well say this
That I maintain my realm amiss
To let a boy inherit my bliss
That never was of my blood.
But to-morrow he will—
Raise the country on every side,
All that may ever go or ride;
So shall this boy lose his pride
For all his greatest boast.
Now he can do no more, and he sinks back, exhausted, into a chair:—
This boast doth me so great annoy
That I wax dull and clean dry.
Have done!—and fill the wine in high,
I die but I have drink.
Fill fast and let the cups fly
And go we hither hastily;
For I must ordain curiously
Against these Kings coming.
Such is the play of The Three Kings, and there can be no doubt whatever of its fine dramatic effect. We cannot wonder that this character of Herod is mentioned by old writers more than other characters of the plays. Imperious and proud, firmly believing in his own kingly right, but, like most ignorant people, profoundly impressed by prophecies and vaticinations which he did not understand, Herod is now impelled forward by swaggering pride and now dragged back by craven fear and subtle influences.
The part gives the actor every opportunity to show forth his art, and the calm, clear tones of the doctor quietly reading the scriptures give the required dramatic contrast. The speeches show the traces of late literary labour, and that we had got within measurable distance of blank verse when the play received its last polish, though the original play was probably founded on an early Latin one called Herodes, sive magorum adoratio.[45]
“Postea Herodes interroget Scribas, dicens:
O vos scribae
Interrogati dicite
Si quid de hoc puero
Scriptum videritis in libro.
Tunc Scribae diu revolvant librum, et tandem inventa quasi prophetica dicant....
Vidimus, Domine, in prophetarum
Lineis, nasci Christum
In Bethleem Iudae civitate
David propheta sic vaticinante.
Tunc Herodes, visa prophetica, furore accensus, projiciat librum,” &c.
[45] See Wright’s Early Mysteries, p. 26.
This play, together with the play of The Salutation and the Nativity and The Shepherds’ Play, was acted at Chester in 1906 by Mr. Nugent Monck and his “English Drama Company” under the auspices of the Chester and North Wales Archæological Society, and with success, but the expense was too great to admit of the whole cycle being performed. The same plays have also been performed in London by Mr. Monck’s company, and by Mr. Benson’s company at Stratford-on-Avon during the Shakespeare Commemoration week.
In conclusion, I would point out that the motto of the city of Chester is curious and indeed unique:—
“Antiqui colant Antiquum Dierum.”
“Let the ancient people worship the Ancient of Days.”
I cannot help thinking that this contains an occult reference to the Chester Mystery Plays.