42 Sententia, lib. iii. distinctio 19.
43 Hone, Ancient Mysteries.
44 "Resurrexit hodie Rex angelorum Ducitur de tenebris turba piorum."
I made him do me homage: For an apple, which I gave him, He and all his race belong to me." But Christ instantly puts a different aspect on the argument, by replying, "Satan! it was mine, The apple thou gavest him. The apple and the apple tree Both were made by me. As he was purchased with my goods, With reason will I have him." 45
In a religious Mystery exhibited at Lisbon as late as the close of the eighteenth century, the following scene occurs. Cain kicks his brother Abel badly and kills him. A figure like a Chinese mandarin, seated in a chair, condemns Cain and is drawn up into the clouds. The mouth of hell then appears, like the jaws of a great dragon: amid smoke and lightning it casts up three devils, one of them having a wooden leg. These take a dance around Cain, and are very jocose, one of them inviting him to hell to take a cup of brimstone coffee, and another asking him to make up a party at whist. Cain snarls, and they tumble him and themselves headlong into the squib vomiting mouth.
Various books of accounts kept by the trading companies who celebrated these Mysteries of the expenses incurred have been published, and are exceedingly amusing. "Item: payd for kepyng of fyer at hellmothe, four pence." "For a new hoke to hang Judas, six pence." "Item: payd for mendyng and payntyng hellmouthe, two pence." "Girdle for God, nine pence." "Axe for Pilatte's son, one shilling." "A staff for the demon, one penny." "God's coat of white leather, three shillings." The stage usually consisted of three platforms. On the highest sat God, surrounded by his angels. On the next were the saints in Paradise, the intermediate state of the good after death. On the third were mere men yet living in the world. On one side of the lowest stage, in the rear, was a fearful cave or yawning mouth filled with smoke and flames, and denoting hell. From this ever and anon would issue the howls and shrieks of the damned. Amidst hideous yellings, devils would rush forth and caper about and snatch hapless souls into this pit to their doom.46 The actors, in their mock rage, sometimes leaped from the pageant into the midst of the laughing, screaming, trembling crowd. The dramatis personoe included many queer characters, such as a "Worm of Conscience," "Deadman," (representing a soul delivered from hell at the descent of Christ,) numerous "Damned Souls," dressed in flame colored garments, "Theft," "Lying," "Gluttony." But the devil himself was the favorite character; and often, when his personified vices jumped on him and pinched and cudgelled him till he roared, the mirth of the honest audience knew no bounds. For there were in the Middle Age two sides to the popular idea of the devil and of all appertaining to him. He was a soul harrowing bugbear or a rib shaking jest according to the hour and one's
45 Halliwell's edition of the Harrowing of Hell, p. 18.
46 Sharp, Essay on the Dramatic Mysteries, p. 24.
humor. Rabelais's Pantagruel is filled with irresistible burlesques of the doctrine of purgatory. The ludicrous side of this subject may be seen by reading Tarlton's "Jests" and his "Newes out of Purgatorie." 47 Glimpses of it are also to be caught through many of the humorous passages in Shakspeare. Dromio says of an excessively fat and greasy kitchen wench, "If she lives till doomsday she'll burn a week longer than the whole world!" And Falstaff, cracking a kindred joke on Bardolph's carbuncled nose, avows his opinion that it will serve as a flaming beacon to light lost souls the way to purgatory! Again, seeing a flea on the same flaming proboscis, the doughty knight affirmed it was "a black soul burning in hell fire." In this element of mediaval life, this feature of mediaval literature, a terrible belief lay under the gay raillery. Here is betrayed, on a wide scale, that natural reaction of the faculties from excessive oppression to sportive wit, from deep repugnance to superficial jesting, which has often been pointed out by philosophical observers as a striking fact in the psychological history of man.
One more active and mighty cause of the dreadful faith and fear with which the Middle Age contemplated the future life was the innumerable and frightful woes, crimes, tyrannies, instruments of torture, engines of persecution, insane superstitions, which then existed, making its actual life a hell. The wretchedness and cruelty of the present world were enough to generate frightful beliefs and cast appalling shadows over the future. If the earth was full of devils and phantoms, surely hell must swarm worse with them. The Inquisition sat shrouded and enthroned in supernatural obscurity of cunning and awfulness of power, and thrust its invisible daggers everywhere. The facts men knew here around them gave credibility to the imagery in which the hereafter was depicted. The flaming stakes of an Auto da Fe around which the victims of ecclesiastical hatred writhed were but faint emblems of what awaited their souls in the realm of demons whereto the tender mercies of the Church consigned them. Indeed, the fate of myriads of heretics and traitors could not fail to project the lurid vision of hell with all its paraphernalia into the imaginations of the people of the Dark Age. The glowing lava of purgatory heated the soil they trod, and a smell of its sulphur surcharged the air. A stupendous revelation of terror, bearing whole volumes of direful meaning, is given in the single fact that it was a common belief of that period that the holy Inquisitors would sit with Christ in the judgment at the last day.48 If king or noble took offence at some uneasy retainer or bold serf, he ordered him to be secretly buried in the cell of some secluded fortress, and he was never heard of more. So, if pope or priest hated or feared some stubborn thinker, he straightway, "Would banish him to wear a burning chain In the great dungeons of the unforgiven, Beneath the space deep castle walls of heaven."