FOOTNOTES:
[1] In The Academy, January 11, 1890.
[2] Manly, Specimens of the Pre-Shakespearean Drama, vol. I., p. xxvii; for examples of dramatic tropes from the Regularis Concordia Monachorum and the Winchester troper, see pp. [xix-xxvi].
[3] Non novo quidem instituto, sed de consuetudine, etc., says Bulæus, Hist. Univ., Par. II., 226 (edit. 1665); Collier, English Dramatic Poetry, and Annals of the Stage, I. 14.
[4] In his Lives of the Abbots of St. Albans.
[5] In the Household Book, Henry VII.; Collier, Hist., vol. I, p. 53 n.
[6] Gesch. des neueren Dramas, I. 141.
[7] See Wright's Early Mysteries, etc., Klein's Geschichte des Dramas, III. 638 et seq., Creizenach, Gesch. d. n. Dramas, I. 37 et seq. Quadrio speaks in his Storia, III. ii. 52, of a Pietro Babyone, an Englishman, who, according to Bale, wrote a Latin comedy in verse, c. 1366.
[8] Ward, I. 52.
[9] Creizenach, I. 101.
[10] Historians of the Church of York, Rolls Series, No. 71, i. 328. Quoted by A. F. Leach in Some English Plays and Players, Furnivall Miscellany, p. 206.
[11] In Supp. Dods. Old Plays, Introd. to Chester Plays, ix.; Latin Stories, p. 100.
[12] An Answer to a Certain Libel, &c., in Collier, II. 73.
[13] As early as 1304 in Hamburg: Meyer, Gesch. d. hamburg. Schul- und Unterrichtswesens im Mittelalter, S. 197: cited in Creizenach, I. 391.
[14] The Shearmen and Taylors' Pageant, from the Annunciation to the Flight into Egypt (Ms., 1533), and the Weavers' Pageant of the Presentation in the Temple.
[15] V. XXVI., XXVIII., XXIX., XXX., XXXI., XXXIII.; probably XXXII. Perhaps this playwright (if we may use the singular) rewrote XXXIV. I think he remodelled XXXV. and XXXVI., in the old metres.
[16] XXVI., The Conspiracy, and IX., Noah,—abababab⁴cdcccd³.
[17] XXXVI., The Mortificacio,—ababbcbc³d¹eee²d³. VII., The Cayme,—ababbc⁴d¹bcc⁴d².
[18] Y. XI., W. VIII.; Y. XXII., W. XVIII.; Y. XXXVII., W. XXV.; Y. XXXVIII., W. XXVI.; Y. XLVIII., W. XXX. For particulars see Miss Lucy Toulmin Smith, Pollard, Hohlfeld's Die Altenglischen Kollektivmisterien, Anglia XI.
[19] Such as stanza 57 in Wakefield XXIX. Ascension, and 97-100 in Wakefield XX. Conspiracy.
[20] Cf. stanzas 1 to 4 with those that follow in Wakefield XXII., Fflagellacio; and stanza 6 of Wakefield XXIV. with those that precede it; and stanza 58 of Wakefield XXIX. with stanza 57.
[21] XXX. Judicium, stanzas 16 to 48, 68 to 76.
[22] XVI. Herod.
[23] XX. a, Conspiracy.
[24] Stanza 57 might just as well be arranged like stanza 58.
[25] III., XII., XIII., XXI.
[26] Minor passages in the nine-line stanza are II., 35, 36; XXIV., 1-5, 56-59; XXVII., 4 Passages in a closely similar stanza are XXII., 1-4; XXIII., 2; XXVII., 30.
[27] The Towneley Plays, Introd., p. [xxii].
[28] Die englischen Mysterien, Jahrb. rom. u. eng. Lit., I. 153.
[29] Ten Brink, Eng. Lit. II: i. 306.
[30] I do not forget that belated Tobias at Lincoln, 1564-66, nor the Godly Queen Hester of 1561; but they have nothing to do with the case.
[31] Rel. Antiq. II. 43.
[32] St. Katharine (Dunstable c. 1100, Coventry, 1490); St. George (1415 and later); St. Laurence (Lincoln, 1441); St. Susanna (Lincoln, 1447); St. Clara (Lincoln, 1455); St. Edward (Coventry, 1456 and later); St. Christian (Coventry, 1504); St. Christina (Bethersden in Kent, 1522); Sts. Crispin and Crispinian (Dublin, 1528); St. Olave (London, 1557). Some of these were church plays, like the St. Olave; some, like the St. Katharine, were school plays; some, craft plays, like the St. Crispin. It is hard sometimes to distinguish between the play and the mumming or the mute pageant; to the dumb show may be assigned some of the St. Georges and the pageants of Fabyan, Sebastian, and Botulf, displayed, in 1564, by the religious gild of Holy Trinity (St. Botolph without Aldersgate). For some conception of the frequency and vitality of such shows one need only turn to Hone, Stow's Survey, the Records of Aberdeen, Toulmin Smith's English Gilds, the History of Dublin, Davidson's English Mystery Plays, and other books of this kind.
[33] German ballads on the subject in 1337 and 1478. A case similar to the material of this drama is assigned to 1478 in Train's Gesch. d. Juden in Regensburg, pp. 116-117.
[34] Child, English and Scotch Popular Ballads, vol. III., pp. 44, 90, 127, 114.
[35] In his introduction, Contributions to Early English Popular Literature, London, 1849, privately printed.
[36] Warton, H. E. P., vol. II., p. 72.
[37] Repr. in Manly's Specimens; the former from Notes and Queries, Fifth Series, II. 503-505; the latter from Kelly's Notices of Leicester.
[38] Halliwell's Contribution to E. Engl. Lit.
[39] British Museum, Add. Mss. 33,418.
[40] Repr. Manly, Specimens from Folk Lore Journal, VII. 338-353.
[41] Stow speaks of mummers, "with black visors, not amiable, as if legates from some foreign prince."
[42] Cf. "Two balls (i.e. bulls) from yonder mountain have laid me quite low," with Golden Legend, vol. IV., p. 103, Temple Classics ed. There is no such close similarity in the language of the Early South English Legendary, Laud Ms., Seint Ieme, and Seint George (Horstmann, Ed. E.E.T.S., 1887).
[43] Schauspiele d. engl. Komödianten, Einl. XCIV.
[44] L. W. Cushman, The Devil and the Vice, Halle a. S., 1900.
[45] I remember only Herod and Antichrist outside of the Digby plays and of the Cornwall cycle (where the devils act as chorus and carry off everything in sight), and the souls of those already damned who are claimed by the devils of the Towneley.
[46] Whether the Rewfyn and Leyon of the Co. were Devils, I have my doubts.
[47] Furnivall, Digby Plays, p. 43; ten Brink, Gesch. engl. Lit., II. 320, and Sharp's Dissertation on the Co. Mysteries, 1825.
[48] In the Nigromansir, and the Shipwrights' Play of Newcastle.
[49] Cushman, p. 66.
[50] Furnivall's ed., Pt. II. 510, 517, 531, 536, 541.
[51] Wisdom, Disobedient Child.
[52] Perseverance, Mankynd, Mary Magdalene, Nigromansir, Juventus, Like, Conflict of Conscience, Money.
[53] Mankynd, Mary Magdalene, Juventus, and Like.
[54] The Witt and Wisdome, King Cambyses, Like, and Horestes.
[55] Gesch. d. engl. Dramas, II., p. 4.
[56] English Writers, VII., p. 182.
[57] Cambyses; cf. Roister Doister's array.
[58] Play of Love; cf. the braggart Crackstone in Two Ital. Gent., much later.
[59] In Wisdom he may be regarded as Vice and Devil (Lucifer) rolled into one; in Everyman he is probably represented by the friends who desert the hero in time of need; in the Disobedient Child he is concrete as the prodigal son.
[60] Furnivall, Digby Plays, Forewords, xiii.
[61] Never 'Morality' to our ancestors; that is a futile borrowing from the French.
[62] Wisdom has only Lucifer; Nature has only Sensuality and minor Vices; Pride of Life had Devils in all probability, but no Vice, for Mirth is not one; Everyman has neither.
[63] I see no reason for assuming with Professor Brandl (Quellen u. Forschungen, XXVIII.) that the loss of the navy bound for Ireland, II. 336-363, has reference to the destruction of the Regent by the French, 1512.
[64] For some of these see Quadrio, Della Storia e della Ragione d'ogni Poesia, Vol. III., Lib. II., 53 et seq.
[65] For the substance of this paragraph see the histories of Klein, Herford, and Creizenach.
[66] E. Dr. Po., I. 107, from Gibson's Accounts.
[67] Warton, H. Eng. Po. (1871), IV. 323.
[68] Herford, Lit. Rel., pp. 107-108.
[69] History of the Stage, p. 64.
[70] Brandl, Quellen, LXII.; cf. Herford, Lit. Rel., p. 156. To trace the suggestion of the model of Barnabas to the Studentes of Stymmelius, 1549, is, I think, absurd. It is strange that Creizenach, Gesch. d. neu. Dr., I. 470, should assert, in face of the Nice Wanton and The Glasse of Government, that no English 'moral' avails itself of two representatives of the human race—a good and an evil.
[71] Brandl, Quellen, LXXIII.; and Herford, Lit. Rel.
[72] Lit. Rel., p. 135.
[73] The English Chronicle Play.
[74] Hawkins, Engl. Drama, I. 145, quotes a passage from one of Latimer's sermons in the presence of Edward VI., which uses the story of "drave me aboute the toune with a puddynge," referred to in Lusty Juventus.
[75] The Marriage of Wit and Wisdome.
[77] See below, p. [198]. 'Trueman' in the Historia Histrionica (pr. 1699) thinks it was "writ in the reign of K. Edw. VI."
[78] Bodl. Libr., Malone 172, "second impression," London, 1661; reprinted by F. E. Schelling, Publ. Mod. Lang. Asso., 1900.
[79] Quellen u. Forschungen.
[80] Not J. Rychardes, as Mr. Fleay has it, Hist. Stage, p. 58.
[81] Herford, Lit. Rel., p. 156.
[82] Unique original, pub. by Pickerynge and Hacket, 1561, in Duke of Devonshire's Libr., Chatsworth; repr. by Grosart, Fuller Worthies Libr., vol. IV., Miscellanies, 1873.
[83] As Hester and Abasuerus, 1594. I see no reason for attributing the authorship, with Mr. Fleay, to R. Edwardes.
[84] The relation of The Taming of the Shrew to this play is well known.
[85] Hist. St., p. 66.
[86] Brit. Mus. c. 34, g; Collier's Illustr. O. Engl. Lit., II. 2; Brandl's Quellen.
[87] Collier, E. Dram Po., II. 432; and Ward, Hist. E. Dr. Lit., I. 264.
[88] Hist. E. Dr. Lit., I. 141.
John Heywood
THE PLAY OF THE WETHER
and
A MERY PLAY BETWENE
JOHAN JOHAN, THE HUSBANDE
TYB, HIS WIFE, &c.
Edited with Critical Essay and Notes
by Alfred W. Pollard, M.A.,
St. John's College, Oxford