He play'd so truly.
Some of these Chappel Boys, when they grew Men, became Actors at the Black-friers; such were Nathan Feild, and John Underwood. Now I can hardly imagine that such Plays and Players as these, are included in the severe Censure of the Councils and Fathers; but such only who are truly within the Character given by Didacus de Tapia, cited by Mr. Collier, p. 276, viz. The Infamous Playhouse; a place of contradiction to the strictness and sobriety of Religion; a place hated by God, and haunted by the Devil. And for such I have as great an abhorrance as any man.
Lovew. Can you guess of what Antiquity the representing of Religious Matters, on the Stage, hath been in England?
Trum. How long before the Conquest I know not, but that it was used in London not long after, appears by Fitz-Stevens, an Author who wrote in the reign of King Henry the Second. His words are, Londonia pro spectaculis theatralibus, pro ludis scenicis, ludos habet sanctiores, Representationes miraculorum, quæ sancti Confessores operati sunt, seu Representationes passionum quibus claruit constantia Martyrum. Of this, the Manuscript which I lately mention'd, in the Cottonian Library, is a notable instance. Sir William Dugdale cites this Manuscript, by the Title of Ludus Coventriæ; but in the printed Catalogue of that Library, p. 113, it is named thus, A Collection of Plays in old English Metre, h. e. Dramata sacra in quibus exhibentur historiæ Veteris & N. Testamenti, introductis quasi in Scenam personis illic memoratis, quas secum invicem colloquentes pro ingenio fingit Poeta. Videntur olim coram populo, sive ad instruendum sive ad placendum, a fratribus mendicantibus repræsentata. It appears by the latter end of the Prologue, that these Plays or Interludes, were not only play'd at Coventry, but in other Towns and Places upon occasion. And possibly this may be the same Play which Stow tells us was play'd in the reign of King Henry IV., which lasted for Eight Days. The Book seems by the Character and Language to be at least 300 Years old. It begins with a general Prologue, giving the arguments of 40 Pageants or Gesticulations (which were as so many several Acts or Scenes) representing all the Histories of both Testaments, from the Creation, to the choosing of St. Mathias to be an Apostle. The Stories of the New Testament are more largely exprest, viz. The Annunciation, Nativity, Visitation; but more especially all Matters relating to the Passion very particularly, the Resurrection, Ascention, the choice of St. Mathias: After which is also represented the Assumption, and last Judgment. All these things were treated of in a very homely style, (as we now think) infinitely below the Dignity of the Subject: But it seems the Gust of that Age was not so nice and delicate in these Matters; the plain and incurious Judgment of our Ancestors, being prepared with favour, and taking every thing by the right and easiest Handle: For example, in the Scene relating to the Visitation:
Maria. But husband of oo thyng pray you most mekely,
I haue knowing that our Cosyn Elizabeth with childe is,
That it please yow to go to her hastyly,
If ought we myth comfort her it wer to me blys.
Joseph. A Gods sake, is she with child, sche?
Than will her husband Zachary be mery.