The description of the German representation is thus given in the words of an eye-witness:—“The end of a barn being taken away, a dark hole appeared, hung with tapestry the wrong side outwards; a curtain running along, and dividing the middle. On this stage the Creation was performed. A stupid-looking Capuchin personated the Creator. He entered in a large full-bottomed wig, with a false beard, wearing over the rusty dress of his order a brocade
morning-gown, the lining of light blue silk being rendered visible occasionally by the pride the wearer took in showing it; and he eyed his slippers with the same satisfaction. He first came on, making his way through the tapestry, groping about; and purposely running his head against posts, exclaiming, with a sort of peevish authority, ‘Let there be light,’ at the same time pushing the tapestry right and left, and disclosing a glimmer through linen clothes from candles placed behind them. The creation of the sea was represented by the pouring of water along the stage; and the making of dry land by the throwing of mould. Angels were personated by girls and young priests, habited in dresses (hired from a masquerade shop), to which the wings of geese were clumsily attached, near the shoulders. The angels actively assisted the character in the flowered dressing-gown, in producing the stars, moon, and sun. To represent winged fowl, a number of cocks and hens were fluttered about; and for other living creatures, some cattle were driven on the stage, with a well-shod horse, and two pigs with rings in their noses. Soon after, Adam appeared. He was a clumsy fellow, in a strangely-shaped wig; and being closely clad with a sort of coarse stocking, looked quite as grotesque as in the worst of the old woodcuts, and something like Orson, but not so decent. He stalked about, wondering at every thing, and
was followed from among the beasts by a large ugly mastiff, with a brass collar on. When he reclined to sleep, preparatory to the introduction of Eve, the mastiff lay down by him. This occasioned some strife between the old man in brocade, Adam, and the dog, who refused to quit his post; nor would he move when the angels tried to whistle him off. The performance proceeded to the supposed extraction of the rib from the dog’s master; which being brought forward and shewn to the audience, was carried back to be succeeded by Eve, who, in order to seem rising from Adam’s side, was dragged up from behind his back, through an ill-concealed and equally ill-contrived trap-door, by the performer in brocade. As he lifted her over, the dog, being trod upon, frightened her by a sudden snap, so that she tumbled upon Adam. This obtained a hearty kick from a clumsy angel to the dog, who consoled himself by discovering the rib produced before, which, being a beef bone, he tried his teeth upon.”
The second pageant was “Paradise,” provided by the Grocers and Raffemen. In the Grocers’ books, now lost, were the items of expenditure about this pageant, among others, for painting clothes for Adam and Eve, &c. In the French collections, a legendary incident is introduced in this play: When Adam attempts to swallow the apple, it will not stir; and, according to the legend, this was the cause of the
lump in the man’s throat, which has been preserved ever since.
The third pageant, “Hell Carte,” was brought forth by the Glaziers, &c. One of a series of illuminated drawings of the eleventh century, illustrative of the Old and New Testaments, part of the Cottonian Library in the British Museum, gives an idea of the manner in which this subject was represented. By no very complex machinery, the huge painted mouth was made to open and shut, and demons are represented dragging into it a variety of classes of dishonest people; thereby conveying a moral and satirical admonition against some of the crying sins of the day, most practised among, and most offensive to, the lower and middle classes of society. One of these offenders was the ale-wife, who gave short measure. In a miserere in Ludlow church, there is set forth a demon carrying an ale-wife, with her false measure and gay head-dress, to the mouth, while two other demons play on the bagpipes, and read from a scroll the catalogue of her sins.
The fourth pageant, “Abel and Cain,” was furnished by the Sheremen, &c. Disputes between Cain and his man were comic scenes introduced into it, and formed its chief attraction.
The fifth, “Noyse Ship,” was brought forth by the Bakers. A fragment of a Newcastle play of the same name affords a specimen of its probable character.
The dramatis persona are Noah, his wife, and Diabolus; and a considerable portion of the play consists of disputes between Noah and his wife, about entering the ark, as:—
Noah.
Good wife, doe now, as I thee bidd.
Noah’s Wife.
Not I, ere I see more need,
Though thou stande all day and stare.Noah.
. . . that women ben crabbed be,
And not are meek, I dare well say.
That is well seen by me to-day,
In witness of yet, eiehone.
Good wife, let be all this beare,
That thou mak’st in this place here,
For all they wene thou art master,
And soe thou art by St. John.