In addition to the above, there is evidence of its survival among the rustic population of Germany. Brand enumerates many curious practices of the carnival just before Ash Wednesday, and even on that day, after the distribution of the ashes. Young maidens in Germany were carried “in a cart or tumbrel” by the youths of the village to the nearest brook or pond, and there thoroughly ducked, the drawers of the cart throwing dust and ashes on all near them. In Oxfordshire it was the custom for bands of boys to stroll from house to house singing and demanding largess of eggs and bacon, not receiving which, “they commonly cut the latch of the door or stop the key-hole with dirt” (“Popular Antiquities,” London, 1872, vol. i. pp. 94 et seq., article “Ash Wednesday”), “or leave some more nasty token of displeasure” (idem). This may have been a survival from the Feast of Fools. Brand refers to Hospinian, “De Origine Festorum Christianorum,” “for several curious customs and ceremonies observed abroad during the three first days of the Quinquagesima week” (p. 99).
Turning from the Teutonic race to the Slav, we find that the Feast of Fools seems still to linger among the Russian peasantry. “At one time a custom prevailed of going about from one friend’s house to another masked, and committing every conceivable prank. Then the people feasted on blinnies,—a pancake similar to the English crumpet” (“A Hoosier in Russia,” Perry S. Heath, New York, 1888, p. 109); all this at Christmas-tide.
Something very much like it, without any obscene features, was noted by Blunt in the early years of the present century. See his “Vestiges,” p. 119.
Hone (“Ancient Mysteries Described,” London, 1823, pp. 148 et seq.) thinks that a Jewish imitation of the Greek drama of the close of the second century, whose plot, characters, etc., were taken from the Exodus, was the first miracle play. The author was one Ezekiel, who was believed to have written it with a patriotic purpose after the destruction of Jerusalem. The early Fathers—Cyril, Tertullian, Cyprian, Basil, Clemens Alexandrinus, and Augustine—inveighed against sacred dramas; but the outside pressure was too great, and the Church was forced to yield to popular demand.
As late as the fifteenth century Pius II. said that the Italian priests had probably never read the New Testament; and Robert Stephens made the same charge against the doctors of the Sorbonne in the same age.
The necessity of dramatic representation would therefore soon outweigh objections made on the score of historical anachronism or doctrinal inaccuracy in these miracle plays.
Theophylact, Patriarch of Constantinople in the tenth century, is credited by the Byzantine historian Cedranus with the introduction of the Feast of Fools and Feast of the Ass, “thereby scandalizing God and the memory of his saints, by admitting into the sacred service diabolical dances, exclamations of ribaldry, and ballads borrowed from the streets and brothels.”—(Hone, quoting Wharton, “Miscellaneous Writings upon the Drama and Fiction,” vol. ii. p. 369.)
In 1590, at Paris, the mendicant orders, led by the Bishop of Senlis, paraded the streets with tucked up robes, representing the Church Militant. These processions were believed to be the legitimate offspring of heathen pageants,—that is, that of Saint Peter in Vinculis was believed to be the transformed spectacle in honor of Augustus’s victory at Actium, etc.
Beletus describes the Feast of Fools as he saw it in the twelfth century. His account, given by Hone (p. 159), agrees word for word with that of Dulaure, excepting that, through an error of translation perhaps, he is made to say that the participants “ate rich puddings on the corners of the altar;” but as the word “pudding” meant even in the English language a meat pudding or sausage, the error is an immaterial one.
Victor Hugo describes in brief the Feast of Fools as seen at Paris in 1482, on the 6th of January. He says that the “Fête des Rois and the Fête des Fous were united in a double holiday since time immemorial.” His description is very meagre, but from it may be extracted the information that in these feasts of fools female actresses appeared masked; that the noblest and greatest personages in the kingdom of France were among the prominent spectators; but there is not much else. (See the opening chapters of “Notre Dame.”)