The Thirteenth, Greatest of Centuries

by James J. Walsh

There was probably no greater impulse for social uplift and for real education of the masses than these mystery and morality plays, in which the people took part themselves and in which, as a consequence of the presence of friends in the various roles, the spectators had a livelier interest than would have been otherwise the case under even the most favorable circumstances, or with elaborate presentation. In recent years there has come the realization that the drama may thus be made a real educational influence. Unfortunately at the present time, whatever of influence it has is exerted almost exclusively upon the better-to-do classes, who have so many other opportunities for educational uplift. These plays during the Thirteenth Century brought the people intimately into contact with the great characters of Old Testament and New Testament history, and besides giving them precious religious information, which of itself, however, might mean very little for true education, helped them to an insight into character and to a right appreciation of human actions and a sympathy with what was right even though it entailed suffering, such as could not have otherwise been obtained.

Of course it is easy to say that such dramas constantly repeated, the subjects always the same and only the cast varying from year to year, would become intolerably familiar and might after a time degenerate into the merely contemptible. As a matter of fact, however, they did not. These old stories of religious heroes were written so close to the heart of nature, involved so intimately all the problems of life that they are of undying interest. Their repetition was only from year to year and this did not give the opportunity for the familiarity which breeds contempt. Besides, though the plays in the various cycles existed in definite forms there seems no doubt that [{250}] certain changes were made by the players themselves and by the managers of the plays from time to time, and indeed such changes of the text of a play as we know from present-day experience, are almost inevitable.

It might be urged, too, that the people themselves would scarcely be possessed of the histrionic talent necessary to make the plays effective. Ordinarily, however, as we know from our modern city life, much less of the actor's art is needed than of interest in the action, to secure the attention of the gallery. It must not be assumed too readily, however, that the guilds which were able to supply men for the great artistic decoration of the cathedrals of the Thirteenth Century, could not supply actors who would so enter into the artistic expression of a part as to represent it to the life. The actor is more born than made, in spite of the number of schools of acting that are supposed to be turning out successful rivals of Roscius, on recurring graduation days. It must not be forgotten that the only example of these mystery plays which is still left to us is the Passion Play at Oberammergau, and that is one of the world's greatest spectacles. On the last occasion when it was given about half a million of people from all over the world, many of them even from distant America and Australia, found their way into the Tyrolese Mountains in order to be present at it. It is only the old, old, old story of the Passion and death of the Lord. It is represented by villagers chosen from among the inhabitants of a little village of fourteen hundred inhabitants, who while they have a distinct taste for the artistic and produce some of the best wood-carving done anywhere in Europe, thus approximating very interestingly the Thirteenth Century peoples, are not particularly noted for their education, nor for their dramatic ability. No one who went up to see the Passion Play came away dissatisfied either with the interest of the play or with its manner of representation. It is distinctly an example of how well men and women do things when they are thoroughly interested in them, and when they are under the influence of an old-time tradition according to which they must have the ability to accomplish what is expected of them. Such a tradition actually existed during the Thirteenth and Fourteenth centuries, leading to a gradual development of [{251}] dramatic power both in writers and actors, that eventually was to result in the magnificent outburst of dramatic genius during the Elizabethan period. For it must not be forgotten, that mystery and morality plays continued to hold the stage down almost, if not quite, to the time of Shakespeare's early manhood, and he probably saw the Coventry Cycle of plays acted.

While we have a certain number of these old-time plays, most of them, of course, have disappeared by time's attrition during the centuries before the invention of printing, when they were handed round only in manuscript form. Of some of these plays we shall have something to say after a moment, stopping only to call attention to the fact that in this literary mode of the mystery and morality plays, dramatic literature in English reached a height of development which has been equaled only by our greatest dramatic geniuses.

Within the last few years most of the large cities of the English-speaking world, besides the more important universities, have been given the opportunity to hear one of the great products of this form of literary activity. "Everyman" is probably as great a play as there is in English and comparable with the best work of Shakespeare, Marlowe and Jonson. Its author only took the four last things to be remembered—Death, Judgment, Heaven and Hell—the things which must come to every man, and wrote his story around them, yet he did it with such artistic effectiveness as to make his drama a triumph of literary execution.

The Mystery Plays were as interesting in their way to the medieval generations as "Everyman" to us. As may be seen from the list quoted from Mr. Morley, practically all the significant parts of the Bible story were acted by these craftsmen. Too much can scarcely be said of the educational value of such dramatic exercises; the Bible itself with its deep religious teachings, with its simple but sublime style, with its beautiful poetry, entered for a time into the very lives of these people. No wonder that our English speech during these centuries became saturated with biblical thoughts and words. Anyone who has ever had any experience with amateur theatricals when a really great play was given, will be able to realize how much more thoroughly every quality, dramatic, literary, poetic, even lyric [{252}] and historical, that there might be in the drama, entered into the hearts and minds of those who took part. It is this feature that is especially deserving of attention with regard to these mystery plays which began in the Thirteenth Century. The people's interest in them, lifted them out of themselves and their trivial round of life into the higher life of this great religious poetry. On the other hand the teachings of the Bible came down from the distant plane on which they might otherwise have been set and entered into the very life of the people. Their familiarity with scripture made it a something not to be discussed merely, but to be applied in their everyday affairs.

Besides this, the organization of the company to give the play and the necessity for the display and exercise of taste in the costumes and of ingenuity in the stage settings, were of themselves of great educative value. The rivalry that naturally existed between the various companies chosen from the different guilds only added to the zest with which rehearsals were taken up, and made the play more fully occupy the minds of those actively engaged in its preparation. For several dull winter months before Easter time there was an intense preoccupation of mind with great thoughts and beautiful words, instead of with the paltry round of daily duties, which would otherwise form the burden of conversation. Gossip and scandal mongering had fewer opportunities since people's minds were taken up by so much worthier affairs. The towns in which the plays were given never had more than a few thousand inhabitants and most of them must have been personally interested in some way in the play. The Jesuits, whose acumen for managing students is proverbial, have always considered it of great importance to have their students prepare plays several times a year. Their reason is the occupation of mind which it affords as well as the intellectual and elocutionary training that comes with the work. What they do with premeditation, the old guilds did unconsciously but even more effectively, and their success must be considered as one of the social triumphs of this wonderful Thirteenth Century.

Only in recent years has the idea succeeded in making way in government circles on the continent, that the giving of free dramatic entertainments for the poor would form an excellent [{253}] addition to other educational procedures. Such performances have new been given for nearly a score of years in Berlin. After all, the subvention allowed by government to the great theaters and opera houses in Europe is part of this same policy, though unfortunately they are calculated to affect only the upper classes, who need the help and the stimulus of great dramatic art and great music less than the lower classes, who have so little of variety or of anything that makes for uplift in their lives. In the Thirteenth Century this very modern notion was anticipated in such a way as to benefit the very poorest of the population, and that not only passively, that is by the hearing of dramatic performances, but also actively, by taking parts in them and so having all the details of the action and the words impressed upon them.

CAPITAL (LINCOLN)