Some of these chapel-boys, when they grew men, became actors at the Blackfriars; such were Nathan. Field[84] 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 abhorrence as any man.
Love. Can you guess of what antiquity the representing of religious matters on the stage hath been in England?
True. How long before the Conquest, I know not, but that it was used in London not long after, appears by Fitz-Stephen, an author who wrote in the reign of King Henry the Second.[85] His words are, Londonia pro spectaculis theatralibus, pro ludis scenicis, ludos habet sanctiores, representationes miraculorum, quæ sancti confessores operati sunt, seu repræsentationes passionum quibus claruit constantia martyrum. Of this the manuscript which I lately mentioned, 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 et 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 played at Coventry, but in the other towns and places upon occasion. And possibly this may be the same play which Stow tells us was played 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 Matthias to be an apostle. The stories of the New Testament are more largely expressed, viz., the Annunciation, Nativity, Visitation; but more especially all matters relating to the Passion, very particularly, the Resurrection, Ascension, the Choice of St Matthias. 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 goût 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 everything by the right and easiest handle. For example, in the scene relating to the Visitation:
Maria.[86] But, husband, of oo thyng I pray you most mekely,
I have knowing that our cosyn Elizabeth with childe is,
That it please yow to go to her hastyly,
If ought we myth comfort her, it were to me blys.
Joseph. A Gods sake, is she with child, sche?
Than will her husband Zachary be mery.
In Montana they dwelle, fer hence, so mot y[87] the,
In the city of Juda, I know it verily;
It is hence, I trowe, myles two a fifty,
We ar like to be wery, or we come at that same,
I wole with a good will, blessyd wyff Mary;
Now go we forth then in Goddys name, &c.
A little before the Resurrection:—Nunc dormient milites, et veniet anima Christi de inferno, cum Adam et Eva, Abraham, John Baptist, et aliis.
Anima Christi. Come forth, Adam, and Eve with the,
And all my fryndes that herein be,
In paradys come forth with me
In blysse for to dwelle.
The fende of hell that is your foo
He shall be wrappyd and woundyn in woo:
Fro wo to welth now shall ye go,
With myrth evyrmore to melle.
Adam. I thank the, Lord, of thy grete grace
That now is forgiven my gret trespace,
Now shall we dwellyn in blyssful place, &c.
The last scene or pageant, which represents the day of judgment, begins thus:[88]
Michael. Surgite, All men aryse,
Venite ad judicium,
For now is set the High Justice,
And hath assignyd the day of dome:
Rape you redyly to this grett assyse.
Both gret and small, all and sum,
And of yowr answer you now avise,
What you shall say, when that yow com, &c.
These and such like were the plays, which in former ages were presented publicly. Whether they had any settled and constant houses for that purpose, does not appear; I suppose not. But it is notorious that in former times there was hardly ever any solemn reception of princes or noble persons, but pageants, that is, stages erected in the open street, were part of the entertainment: on which there were speeches by one or more persons, in the nature of scenes; and be sure one of the speakers must be some saint of the same name with the party to whom the honour is intended. For instance, there is an ancient manuscript at Coventry, called the "Old Leet Book," wherein is set down in a very particular manner, p. 168, the reception of Queen Margaret, wife of Henry VI. who came to Coventry; and, I think, with her young son, Prince Edward, on the Feast of the Exaltation of the Holy Cross, 35 Hen. VI. 1456. Many pageants and speeches were made for her welcome; out of all which I shall observe but two or three in the old English, as it is recorded:—