Christians encourage wine as something which will benefit men. Teetotallers discourage wine as something that will destroy men. Their conscientious conclusions are different, but their consciences are just the same. Teetotallers say that wine is bad because they think it moral to say what they think. Christians will not say that wine is bad because they think it immoral to say what they don’t think. And a triangle is a three-sided figure. And a dog is a four-legged animal. And Queen Anne is dead. We have, indeed, come back to alphabetical truths. But Professor Forel has not yet even come to them. He goes on laboriously repeating that there cannot be a fixed moral sense, because some people drink wine and some people don’t. I cannot imagine how it was that he forgot to mention that France and England cannot have the same moral sense, because Frenchmen drive cabs on the right side of the road and Englishmen on the left.
The Humour of King Herod
If I say that I have just been very much amused with a Nativity play of the fourteenth century it is still possible that I may be misunderstood. What is more important, some thousand years of very heroic history will be misunderstood too. It was one of the Coventry cycle of mediæval plays, loosely called the Coventry Mysteries, similar to the Chester Mysteries and the Towneley Mysteries.
And I was not amused at the blasphemy of something badly done, but at a buffoonery uncommonly well done. But, as I said at the time, the educated seem to be very ignorant of this fine mediæval fun. When I mentioned the Coventry Mystery many ladies and gentlemen thought it was a murder in the police news. At the best, they supposed it to be the title of a detective story. Even upon a hint of history they could only recall the story of Godiva; which might be called rather a revelation than a mystery.
Now I always read police news and I sometimes write detective stories; nor am I at all ashamed of doing either. But I think the popular art of the past was perhaps a little more cheerful than that of the present. And in seeing this Bethlehem drama I felt that good news might perhaps be as dramatic as bad news; and that it was possibly as thrilling to hear that a child is born as to hear that a man is murdered.
Doubtless there are some sentimental people who like these old plays merely because they are old. My own sentiment could be more truly stated by saying that I like them because they are new. They are new in the imaginative sense, making us feel as if the first star were leading us to the first child.
But they are also new in the historical sense, to most people, owing to that break in our history which makes the Elizabethans seem not merely to have discovered the new world but invented the old one. Nobody could see this mediæval play without realizing that the Elizabethan was rather the end than the beginning of a tradition; the crown and not the cradle of the drama.
Many things that modern critics call peculiarly Elizabethan are in fact peculiarly mediæval. For instance, that the same stage could be the place where meet the extremes of tragedy and comedy, or rather farce. That daring mixture is always made a point of contrast between the Shakespearean play and the Greek play or the French classical play. But it is a point of similarity, or rather identity, between the Shakespearean play and the miracle play.