The Thirteenth, Greatest of Centuries

by James J. Walsh

ST. FRANCIS' NATIVITY PLAY (GIOTTO)

The first cycle of mystery plays of which there is definite mention is that of Chester. According to the proclamation of the Chester plays, the representation of this cycle dates in some form from the mayoralty of John Arneway, who was the [{241}] Mayor of Chester, between 1268 and 1276. Of the series of plays as given in the Thirteenth Century there are few remains. It is probable, even, that at this early date they were not acted in English but in French. English plays were probably first given in some of the Cathedral towns along the east coast of England, and perhaps York should have the credit of this innovation. It is easy to understand how the simpler dramatic additions to the ritual of the Church would inevitably develop in the earnest and very full religious life of the people which came with the building of the cathedrals, the evolution of Church ceremonial and the social life fostered by the trade-guilds of the time. While we have none of the remains of the actual plays of the Thirteenth Century, there is no doubt that an excellent idea of their form and content can be gathered from the English mystery plays, that have recently been edited in modern form and which serve to show the characteristics of the various cycles.

It might perhaps be thought that these mystery plays would not furnish any great amount of entertainment for the populace, especially after they had seen them a certain number of times. The yearly repetition might naturally be expected to bring with it before long a satiety that would lead to inattention. As is well known, however, there is an enduring interest about these old religious stories that makes them of much greater attractiveness than most ordinary historical traditions. Many a faithful reader of the Bible finds constantly renewed interest in the old Biblical stories in spite of frequent repetition. Their significance to the eye of faith in the Middle Ages gave them, beyond any doubt, that quality which in any literary work will exemplify and fulfill Horace's dictum, decies repetita placebit. Besides, it must not be forgotten that the men and women of the Thirteenth Century had not the superficial facilities of the printing press to cloy their intellectual curiosity, and by trivial titillation make them constantly crave novelty.

It must not be thought, in spite of the fact that these were religious plays, that they were always so serious as to be merely instructive without being amusing. A large fund of amusement was injected into the old biblical stories by the [{242}] writers of the different cycles and undoubtedly the actors themselves added certain personal elements in this matter, which still further enhanced some of the comical aspects of the solemn stories. Nearly always the incidents of the Scriptural narrative though followed more or less literally, were treated with a large humanity that could scarcely fail to introduce elements of humor into the dramatic performances. Such liberties, however, were taken only with characters not mentioned by the Bible—the inventions of the writers. A series of quotations from the Chester Cycle of Plays will best illustrate this. We give them in the quaint spelling of the oldest version extant. The scene we quote is from the play dealing with Noah's flood and pictures Noah's wife as a veritable shrew.

NOYE—
Wyffe, in this vessel we shall be kepte:
My children and thou, I woulde in ye lepte.
Noye's Wiffe—
In fayth, Noye, I hade as leffe thou slepte!
For all thy frynishe fare,
I will not doe after thy reade.
Noye—
Good wyffe, doe nowe as I thee bydde.
Noye's Wiffe—
Be Christe! not or I see more neede,
Though thou stande all the daye and stare.
Noye—
Lorde, that wemen be crabbed aye,
And non are meke, I dare well saye.
This is well seene by me to daye,
In witnesse of you ichone (each one).
Goodwiffe, lett be all this beare,
That thou maiste in this place heare;
For all the wene that thou arte maister,
And so thou arte, by Sante John!

All Noah's artful concession of his wife's mastery in the household does not avail to move her and so he tries objurgation.

Noye—
Wiffe, come in: why standes thou their?
Thou arte ever frowarde, I dare well sweare;
Come in, one Godes halfe! tyme yt were,
For feare leste that we drowne.
[{243}]
Noye's Wiffe—
Yes, sir, sette up youer saile,
And rowe fourth with evill haile,
For withouten (anye) fayle
I will not oute of this towne;
But I have my gossippes everyechone,
One foote further I will not gone:
The shall not drowne, by Sainte John!
And I may save ther life.
The loven me full well, by Christe!
But thou lett them into thy cheiste, (ark)
Elles rowe nowe wher thee leiste,
And gette thee a newe wiffe.

It is evident that he will not succeed so Noah, wise doubtless with the wisdom of experience, forbears to urge but appeals to her sons to bring her.

NOYE—
Seme, sonne, loe! thy mother is wrawe:
Forsooth, such another I doe not knowe.
Sem—
Father, I shall fetch her in, I trowe,
Withoutten anye fayle.—
Mother, my father after thee sends.
And byddes thee into yeinder shippe wende.
Loke up and see the wynde.
For we bene readye to sayle.
Noye's Wiffe—
Seme, goe againe to hym, I saie;
I will not come theirin to daye.
Noye—
Come in, wiffe, in twentye devilles waye!
Or elles stand there without.
Ham—
Shall we all feche her in?
Noye—
Yea, sonnes, in Christe blessinge and myne!
I woulde you hied you be-tyme.
For of this flude I am in doubte.
Jeffatte—
Mother, we praye you all together.
For we are heare, youer owne childer.
Come into the shippe for feare of the weither,
For his love that you boughte!
[{244}]
Noye's Wiffe—
That will not I, for all youer call,
But I have my gossippes all.
Sem—
In faith, mother, yett you shalle,
Wheither thou wylte or (nought).