Chapter XXV: Humanism and Mediaevalism (14)

[587] Julleville, _Les Com._, _passim_. A collection of farces is in E. L. N. Viollet-le-Duc, _Ancien Théâtre français_ (1854-7). For morals and farces at the Feasts of Fools and of the Boy Bishop abroad, and for the satirical tendency of such entertainments, cf. vol. i. p. 380. In 1427, after the feast of St. Laurent, Jean Bussières, chaplain of St. Remi de Troyes, ‘emendavit quod fecerat certum perconnagium rimarum in cimiterio dicte ecclesie Sancti Remigii; de quibus rimis fuerat dyabolus et dixerat plura verba contra viros ecclesiasticos’ (_Inv. des Arch, de l’Aube_, sér. G, i. 243). The fifteenth-century Dutch farces appear to have been played at the meetings of the _Rederijkerkammern_, and the German _Fastnachtsspiele_, which derive largely from folk _ludi_, by associations of handicraftsmen (Creizenach, i. 404, 407).

[588] Julleville, _Les Com._ 325.

[589] Ibid. 342. There is nothing to show the character of the French players who visited the English court in 1494 and 1495 (Appendix E, viii).

[590] Cf. p. 190 and vol. i. p. 383. The only known English _puy_ is that of London (vol. i. p. 376).

[591] The titles of the printed plays do not help, as they were probably added by the printers, and in any case ‘enterlude’ does not exclude a popular play.

[592] _Hist. MSS._ vii. 613.

[593] Collier, ii. 196, quotes the description by Willis, _Mount Tabor_ (1639), and refers to other notices of the play. In _Sir Thomas More_ (†1590, ed. A. Dyce, from _Harl. MS._ 7368 for Shakes. Soc. 1844) ‘my lord Cardinall’s players’ visit More’s house and offer the following repertory:

‘The Cradle of Securitie,
Hit nayle o’ th’ head, Impacient Pouertie,
The play of Foure Pees, Diues and Lazarus,
Lustie Juuentus, and the Mariage of Witt and Wisedom.’

The ascription of these plays to Wolsey’s lifetime must not be pressed too literally. Of _Hit Nayle o’ th’ Head_ nothing is known. Radclif (p. 197) wrote a _Dives and Lazarus_. For the rest cf. p. 189; _Texts_ (iv). The piece actually performed in _Sir Thomas More_ is called _Wit and Wisdom_, but is really an adaptation of part of _Lusty Juventus_. A play of _Old Custome_, probably a morality, was amongst the effects of John, earl of Warwick, in 1545-50 (_Hist. MSS._ ii. 102).

[594] Cf. Brandl, xl. The performances of _Everyman_ given in the courtyard of the Charterhouse in 1901, and subsequently in more than one London theatre, have proved quite unexpectedly impressive.

[595] John Rastell printed †1536 _Of gentylnes and nobylyte, A dyalogue ... compilit in maner of an enterlude with divers toys and gestis addyd thereto to make mery pastyme and disport_; cf. _Bibliographica_, ii. 446. Heywood’s _Witty and Witless_ is a similar piece, and a later one, _Robin Conscience_, is in W. C. Hazlitt, _Early Popular Poetry_, iii. 221. In 1527 Rastell seems to have provided for the court a pageant of ‘The Father of Hevin’ in which a dialogue, both in English and Latin, of riches and love, written by John Redman, and also a ‘barriers’ were introduced (Brewer, iv. 1394; Collier, i. 98; Hall, 723; Brown, _Venetian Papers_, iv. 105). A dialogue of Riches and Youth, issuing in a ‘barriers,’ is described by Edward VI in 1552 (_Remains_, ii. 386). On the vogue during the Renascence of this dialogue literature, which derives from the mediaeval _débats_, cf. Herford, ch. 2.

[596] Collier, i. 69. This notice is said by Collier to be from a slip of paper folded up in the _Revels Account_ for 1513-4. It is not mentioned in Brewer’s _Calendar_.

[597] Leland, _Collectanea_ (ed. Hearne), iv. 265; _Computus_ for 1551-6 of Sir Thos. Chaloner (_Lansd. MS._ 824, f. 24) ‘Gevyn on Shrove monday to the king’s players who playd the play of Self-love ... xx⁸.’

[598] Cf. ch. xvi.

[599] There was a ‘farsche’ at Edinburgh in 1554 (_Representations_, s.v.). In 1558 the Scottish General Assembly forbade ‘farseis and clerke playis’ (Christie, _Account of Parish Clerks_, 64). Julleville, _La Com._ 51, explains the term. _Farsa_ is the L. L. past part. of _farcire_ ‘to stuff.’ Besides its liturgical use (vol. i. p. 277) ‘on appela _farce_ au théâtre une petite pièce, une courte et vive satire formée d’éléments variés et souvent mêlée de divers langages et de différents dialectes.... Plus tard, ce sens premier s’effaça; le mot de farce n’éveilla plus d’autre idée que celle de comédie très réjouissante.’ _Farce_ is, therefore, in its origin, precisely equivalent to the Latin _Satura_.

[600] Cf. vol. i. p. 83.

[601] _Texts_, s.v. Lyndsay. The only other fragment of the Scottish drama under James IV is that ascribed to Dunbar (_Works_, ed. Scot. Text Soc., ii. 314). In one MS. this is headed ‘_Ane Littill Interlud of the Droichis Part of the_ [_Play_] but in another _Heir followis the maner of the crying of ane playe_. Both have the colophon. _Finis off the Droichis Pairt of the Play._ From internal evidence the piece is a _cry_ or _banes_. Ll. 138-41 show that it was for a May-game:

‘ȝe noble merchandis ever ilkane
Address ȝow furth with bow and flane
In lusty grene lufraye,
And follow furth on Robyn Hude.’

[602] Cushman, 63, 68.

[603] No play in the first two sections of the ‘vice-dramas’ tabulated by Cushman, 55, has a vice. Of the eleven plays (excluding _King John_, which has none) that remain, eight can be called morals. But to these must be added Heywood’s _Love_ and _Weather_, Grimald’s _Archipropheta_, _Jack Juggler_, _Hester_, _Tom Tiler and His Wife_, none of which are morals, unless the first can be so called.

[604] Cushman, 68. It has been derived from _vis d’âne_, and from _vis_, ‘a mask’; from the Latin _vice_, because the vice is the devil’s representative; from _device_, ‘a puppet moved by machinery,’ and finally, by the ingenious Theobald, from ‘O. E. _jeck_—Gk. εἰκαῖ, i.e. ϝικαῖ = ϝείκ = formal character.’

[605] Cf. _Texts_, s.v. Medwall. In _Misogonos_ (†1560) Cacurgus, the _Morio_, is a character, and is called ‘foole’ and ‘nodye’ but not ‘vice.’

[606] Collier, ii. 191; Cushman, 69; cf. ch. xvi.

[607] Cf. _Representations_, s.vv. Bungay, Chelmsford.

[608] The ‘pleyers with Marvells’ at court in 1498 are conjectured to have played miracles. But they may have been merely _praestigiatores_.

[609] Cf. vol. i. p. 180.

[610] Cf. p. 197, n. 1.

[611] Cf. _Texts_, s.v. Grimald.

[612] W. B[aldwin], _Bell the Cat_ (1553).

[613] Krumbacher, 534, 644, 653, 717, 746, 751, 766, 775. The Χριστὸς Πάσχων (ed. by J. G. Brambs, 1885; and in _P. G._ xxxviii. 131) was long ascribed to the fourth-century Gregory Nazianzen. Later scholars have suggested Joannes Tzetzes or Theodorus Prodromus, but Krumbacher thinks the author unidentified. A third of the text is a cento from extant plays, mainly of Euripides.

[614] Krumbacher, 645.

[615] Teuffel, ii. 372; Cloetta, i. 3, 70; Creizenach, i. 4, 20. The _Querolus_ (ed. L. Havet, 1880) was ascribed by the Middle Ages to Plautus himself. The _Geta_, if it existed, is lost.

[616] Sidonius, _Carm._ xxiii. 134.

[617] Cloetta, i. 14; ii. 1; Creizenach, i. 1, 486; Bahlmann, _Ern._ 4; M. Manitius, in _Philologus_, suppl. vii. 758; Ward, i. 7, quoting Hrotsvitha,

‘sunt etiam ...
qui, licet alia gentilium spernant,
Terentii tamen fragmenta frequentius lectitant.’

[618] Creizenach, i. 2; Ward, i. 8; _Göttinger gelehrte Anzeigen_ (1835), 911.

[619] Creizenach, i. 17; Cloetta, i. 127; Ward, i. 6; Pollard, xii; A. Ebert, _Gesch. d. Litt. d. Mittelalters_ (1887), iii. 314; W. H. Hudson in _E. H. R._ iii. 431. The plays of Hrotsvitha (ed. K. A. Barack, 1858; ed. P. L. Winterfeld, 1901) are the _Gallicanus_, _Dulcitius_, _Callimachus_, _Abraham_, _Paphnutius_, _Sapientia_. They were discovered by Conrad Celtes and edited in 1501. It is not probable that he forged them.

[620] Printed in Appendix U.

[621] Creizenach, i. 5; Cloetta, i. 38. One of the exceptionally learned men who really knew something about the classical drama was John of Salisbury (†1159), _Polycraticus_, i. 8 ‘comicis et tragoedis abeuntibus, cum omnia levitas occupaverit, clientes eorum, comoedi videlicet et tragoedi, exterminati sunt’; iii. 8 ‘comoedia est vita hominis super terram, ubi quisque sui oblitus personam exprimit alienam’ (_P. L._ cxcix. 405, 488). For the popular notion cf. Lydgate, _Troy Book_ (ed. 1555), ii. 11, perhaps translating Guido delle Colonne:

‘In the theatre there was a smale aulter,
Amyddes sette that was half Circuler,
Which into East of custome was directe,
Upon the whiche a Pulpet was erecte,
And therin stode an auncient poete,
For to reherse by rethorykes swete,
The noble dedes that were hystoryall,
Of kynges & prynces for memoryall ...
All this was tolde and red of the Poete,
And whyle that he in the pulpet stode,
With deadly face all deuoyde of blode,
Synging his ditees with muses all to rent,
Amyd the theatre shrowded in a tent,
There came out men gastfull of their cheres,
Disfygured their faces with viseres,
Playing by sygnes in the peoples syght,
That the Poet songe hath on heyght, ...
And this was done in Apryll and in May.’

[622] Creizenach, i. 6; Cloetta, i. 35. See the miniature reproduced from a fifteenth-century MS. of Terence in P. Lacroix, _Sciences et Lettres au Moyen Âge_ (1877), 534.

[623] Cloetta, i. 14, has accumulated a fund of learning on this subject; cf. Creizenach, i. 9.

[624] Johannes Januensis, _Catholicon_ (1286), quoted by Cloetta, i. 28 ‘differunt tragoedia et comoedia, quia comedia privatorum hominum continet facta, tragoedia regum et magnatum. Item comoedia humili stilo describitur, tragoedia alto. Item comoedia a tristibus incipit sed cum laetis desinit, tragoedia e contrario.’

[625] Vincent of Beauvais, _Speculum maius triplex_ (†1250), i. 109 ‘Comoedia poesis exordium triste laeto fine commutans. Tragoedia vero poesis a laeto principio in tristem finem desinens.’ The Dante-commentator Francesco da Buti, quoted by Cloetta i. 48, illustrates this notion with an extraordinary explanation of the derivation of _tragedia_ from τράγος; ‘come il becco ha dinanzi aspetto di principe per le corna e per la barba, e dietro è sozzo mostrando le natiche nude e non avendo con che coprirle, così la tragedia incomincia dal principio con felicità e poi termina in miseria.’ Krumbacher, 646, describes the very similar history of the terms τραγῳδία and κωμῳδία in Byzantine Greek.

[626] Boethius, who of course understood the nature of comedy and tragedy, says (_Cons. Philosoph._ ii. pr. 2. 36) ‘quid tragoediarum clamor aliud deflet, nisi indiscreto ictu fortunam felicia regna vertentem?’ This becomes in the paraphrase of his eleventh-century commentator Notker Labeo (ed. Hattemar, 52ᵇ) ‘tragoediae sínt luctuosa carmina. álso díu sínt. díu sophocles scréib apud grecos. de euersionibus regnorum et urbium. únde sínt uuideruuártig tien comoediis. án dîen uuir îo gehórên laetum únde iocundum exitum.’

[627] Cloetta, i. 4; Teuffel, ii. 506. Blossius Aemilius Dracontius was a Carthaginian poet. The _Orestes_ is printed in L. Baehrens, _Poet. Lat. Min._ (_Bibl. Teub._), v. 218. There seems a little doubt whether the title _Orestis tragoedia_ in the Berne MS. is due to the author or to a scribe. The Ambrosian MS. has _Horestis fabula_.

[628] Creizenach, i. 12.

[629] Ibid. i. 7; Cloetta, i. 49. The _ludus prophetarum_ played at Riga in 1204 (p. 70) is called ‘ludus ... quam Latini comoediam vocant.’ Probably this is a bit of learning on the part of the chronicler; cf. the Michael-House instance (p. 344). For scraps from non-dramatic classical authors in liturgical plays, cf. p. 48. The ‘theatricales ludi’ of Innocent III and others (vol. i. p. 40; vol. ii. p. 99) seem to be not miracle-plays, but the Feast of Fools and similar mummings.

[630] Dante, _Dedicatio_ of _Paradiso_ to Can Grande (_Opere Latine_, ed. Giuliani, ii. 44) ‘est comoedia genus quoddam poeticae narrationis.... Differt ergo a tragoedia in materia per hoc quod tragoedia in principio est admirabilis et quieta, in fine sive exitu est foetida et horribilis ... comoedia vero inchoat asperitatem alicuius rei, sed eius materia prospere terminatur.’ P. Toynbee (_Romania_, xxvi. 542) shows that Dante substantially owed these definitions to the _Magnae Derivationes_ of the late twelfth-century writer, Uguccione da Pisa.

[631] Boccaccio’s _Ameto_ bears the sub-title _Comedia delle Ninfe fiorentine_.

[632] Chaucer, _Monk’s Prologue_, (_C. T._ 13,999):

‘Or elles first Tragedies wol I telle
Of whiche I have an hundred in my celle.
Tragedie is to seyn a certeyn storie,
As olde bokes maken us memorie,
Of him that stood in greet prosperitee
And is y-fallen out of heigh degree
Into miserie, and endeth wrecchedly.’

Cf. the gloss in his _Boethius_, ii. pr. 2, 78, to the passage already quoted on p. 20; and the description of _Troilus_ in _T. C._ v. 1786.

[633] Lydgate, _Fall of Princes_, prol.:

‘My maister Chaucer with his fressh commedies,
Is deed, alas, chefe poete of Bretayne:
That sometyme made full pitous tragedies.’

[634] W. F. Trench, _A Mirror for Magistrates; its Origin and Influence_ (1898), 18, 76, 82, 120, 125.

[635] Cf. vol. i. p. 177.

[636] Bale, i. 370.

[637] Ibid. ii. 68.

[638] Cloetta, ii. 4, 11, 91, 147; Creizenach, i. 487, 529, 572; Bahlmann, _Ern._ 9, 13, 15, 30, 40.

[639] Cloetta, ii. 69, 221; Creizenach, i. 490, 510, 580.

[640] The earliest printed text (†1473) of Claudian’s _De Raptu Proserpinae_ is from a version arranged as two pseudo-dramas (Cloetta, i. 135).

[641] Cloetta, i, _passim_; Creizenach, i. 20; Peiper, _Die profane Komödie des Mittelalters_, in _Archiv f. Litteraturgeschichte_, v. 497. Some of the texts are in Müllenbach, _Comoediae Elegiacae_ (1885), and T. Wright, _Early Mysteries and other Latin Poems_ (1844). Cloetta gives references for the rest.

[642] Creizenach, i. 533, 548, 563, 581; Bahlmann, _Ern._ 13, 36, 38, 44, 48.

[643] Creizenach, i. 569; ii. 23, 43, 59; Bahlmann, _L. D._ 31; Julleville, _Les Com._ 298; J. Bolte, in _Vahlen-Festschrift_ (1900), 589.

[644] Creizenach, ii. 1, 71, 88, 370, 374; Heiland, _Dramatische Aufführungen_, in K. A. Schmid, _Enc. d. gesammten Erziehungs- und Unterrichtswesens_ (2nd ed. 1876-87).

[645] Cf. p. 196.

[646] A. Wood, _Athenae_ (ed. Bliss), i. 35, s.v. _Lilly_, says that Ritwise ‘made the Tragedy of Dido out of Virgil; and acted the same with the scholars of his school before cardinal Wolsey with great applause.’ The date of this performance is given in the _D. N. B._, through a confusion with the anti-Lutheran play at court (cf. p. 196), as 1527. It is often identified with the _Dido_ played before Elizabeth at Cambridge in 1564. But there is no reason to doubt the statement of Hatcher’s sixteenth-century MS. account of King’s College (transcript in _Bodl._ 11,614) that the author of this was Edward Halliwell, who, like Ritwise, was a fellow of the college.

[647] Cf. p. 195.

[648] For the translation of the _Philoktetes_ of Sophocles by Roger Ascham, cf. p. 195. Bale, _Scriptores_ (1557), i. 720, mentions a translation from Greek into Latin of _tragoedias quasdam Euripidis_ by Thomas Keye or Caius (†1550).

[649] Creizenach, ii. 74; Herford, 84; Ward, i. 120; Bahlmann, _L. D._ 39, 53, 66, 82. Many plays of this school are in _Comoediae et Tragoediae aliquot ex Novo et Vetere Testamento desumptae_ (Brylinger, Basle, 1540) and _Dramata Sacra_ (Oporinus, Basle, 1547).

[650] Creizenach, ii. 76; Herford, 119; Bahlmann, _L. D._ 71. The play is in Brylinger, 314. A recent edition is that by Bolte and Schmidt (1891).

[651] Cf. p. 195. Both Thomas Artour, of Cambridge (ob. 1532), who wrote a _Microcosmum, tragoediam_, and a _Mundum plumbeum, tragoediam_ (Bale, i. 709), and John Hooker (ob. †1543), of Magdalen College, Oxford, who wrote a _comoediam, scilicet Piscatorem ... alio titulo Fraus illusa vocatur_ (Bale, i. 712), seem to have been Protestants, but nothing is known of the character of their plays, which may have been either English or Latin.

[652] Cf. p. 197.

[653] Bale, _Scriptores_, i. 674. It was written in his eleventh year (1547-8): cf. his _Remains_, i. xvi.

[654] Hall, 641.

[655] Hall, 719; Collier, i. 103.

[656] Hall, 735; Collier, i. 104; Brewer, iv. 1603; Brown, _Venetian Papers_, iv. 208; Cavendish, _Life of Wolsey_, i. 136. The characters further included ‘an oratur,’ a Poet, Religion, Ecclesia, Veritas, Heresy, False Interpretation, ‘Corrupcio Scriptoris,’ St. Peter, St. Paul, St. James, a Cardinal, two Serjeants, the Dauphin and his brother, a Messenger, three ‘Almayns,’ ‘Lady Pees,’ ‘Lady Quyetnes,’ ‘Dame Tranquylyte.’ Brandl, lvi suggests that the play might have been related to the _Ludus ludentem Luderum ludens_ of Johannes Hasenberg (1530), and the analysis of this piece given by Bahlmann, _L. D._ 48, shows that the two had several characters in common. Another anti-Luther play, the _Monachopornomachia_ (1538) of Simon Lemnius (Bahlmann, _L. D._ 70), appears to be distinct.

[657] Brown, _Venetian Papers_, iv. 229.

[658] Herbert of Cherbury, _Life of Henry VIII_ (Kennet, _Hist. of England_, ii. 173).

[659] Collier, i. 119, quoting Foxe, _Martyrologie_ (1576), 1339.

[660] Herford, 129; Mullinger, _Hist. of Cambridge_, ii. 74; Cooper, _Annals of Cambridge_, i. 422; J. Peile, _Christ’s College_, 48. The correspondence about the play between Gardiner and Parker is printed in full in J. Lamb, _Collection of Documents from C. C. C. C._ (1838), 49.

[661] Brewer, xii. 1. 557, 585.

[662] Bale, _Scriptores_, i. 702. Cf. also S. R. Maitland, _Essays on the Reformation_, 182.

[663] Brewer, xii. 1. 244; Collier, i. 128. ‘The Lorde make you the instrument of my helpe, Lorde Cromwell, that I may have fre lyberty to preche the trewthe.

I dedycat and offer to your Lordeshype A Reverent Receyving of the Sacrament, as a Lenton matter, declaryd by vj chyldren, representyng Chryst, the worde of God, Paule, Austyn, a Chylde, a Nonne callyd Ignorancy; as a secret thyng that shall have hys ende ons rehersyd afore your eye by the sayd chyldren.

The most part of the prystes of Suff. wyll not reseyve me ynto ther chyrchys to preche, but have dysdaynyd me ever synns I made a play agaynst the popys Conselerrs, Error, Colle Clogger of Conscyens, and Incredulyte. That, and the Act of Parlyament had not folowyd after, I had be countyd a gret lyar.

I have made a playe caulyd A Rude Commynawlte. I am a makyng of a nother caulyd The Woman on the Rokke, yn the fyer of faythe a fynyng, and a purgyng in the trewe purgatory; never to be seen but of your Lordshyp’s eye.

Ayde me for Chrystys sake that I may preche chryst.

Thomas Wylley
of Yoxforthe Vykar
fatherlesse and forsaken.’

[664] Brewer, xiv. 1. 22; Collier, i. 124.

[665] Foxe, _Acts and Monuments_ (ed. Cattley), v. 443, 446.

[666] Brewer, xvii. 79; Wilkins, iii. 860. About the same date a _Discourse_ (_Cotton MSS. Faustina_, C. ii. 5) addressed by Sir Richard Morison to Henry VIII is described by Brewer xvii. 707 as proposing ‘a yearly memorial of the destruction of the bishop of Rome out of the realm, as the victory of Agincourt is annually celebrated at Calais, and the destruction of the Danes at Hoptide (_sic_: cf. vol. i. p. 154). It would be better that the plays of Robin Hood and Maid Marian should be forbidden, and others devised to set forth and declare lively before the people’s eyes the abomination and wickedness of the bishop of Rome, the monks, friars, nuns and such like, and to declare the obedience due to the King.’ In 1543 the Lord Mayor complained to the Privy Council of the ‘licentious manner of players.’ Certain joiners, who were the Lord Warden’s players, were imprisoned and reprimanded for playing on Sunday (_P. C. Acts_, i. 103, 109, 110, 122).

[667] 34, 35 _Hen. VIII_, c. 1; Hazlitt, _E. D. S._ 3; Collier, i. 127. A proclamation of May 26, 1545 (Hazlitt, _E. D. S._ 6), states an intention to employ in the fleet ‘all such ruffyns, Vagabonds, Masterles men, Comon players and euill disposed persons’ as haunt ‘the Banke, and such like naughtie places,’ and forbids the retaining of servants, other than household servants or others allowed by law or royal licence. I have already (p. 185) called attention to the ambiguity of the term ‘comon player,’ and on the whole, in view of a reference in the proclamation to ‘theft and falsehood in play’ I think that gamblers are here in question. In any case the protected players were not suppressed.

[668] 1 _Edw. VI_, c. 12.

[669] _S. P. Dom. Edw. VI_, i. 5; Collier, i. 135.

[670] Kempe, 64, 74, with a list of personages for precisely such a play. W. Baldwin, on whom cf. pp. 194, 200, and _Modern Quarterly_, i. 259, was probably a dramatist of this temper.

[671] Brown, _Venetian Papers_, v. 347; cf. the letters between Gardiner and Somerset, quoted by Maitland, _Essays on the Reformation_, 228, from Foxe, vi. 31, 57.

[672] Hazlitt, _E. D. S._ 8; Collier, i. 142; Fuller, _Ch. Hist._ (1655), 391.

[673] 2, 3 _Edw. VI_, c. 1.

[674] Hazlitt, _E. D. S._ 9; Collier, i. 144. In 1550 ‘il plaiers’ were sought for in Sussex (_Remains_ of Edward VI, ii. 280). In 1551 the council gave Lord Dorset a licence for his players to play in his presence only (_P. C. Acts_, iii. 307). In 1552 Ogle sent to Cecil a forged licence taken from some players (_S. P. Dom. Edw. VI_, xv. 33).

[675] Holinshed (1808), iv. 61.

[676] Hazlitt, _E. D. S._ 15; Collier, i. 155; _P. C. Acts_, iv. 426.

[677] _S. P. Dom. Mary_, viii. 50; _P. C. Acts_, v. 234, 237; vi. 102, 110, 118, 148, 168, 169. In Feb. 1556 the council sent Lord Rich to inquire into a stage-play to be given at Shrovetide at Hatfield Bradock, Essex, and directed him to stop such assemblies. An order against strolling players who spread sedition and heresy came in May. In June, 1557, performers of ‘naughty’ and ‘lewd’ plays were arrested in London and Canterbury. An order forbade plays throughout the country during the summer. In August a ‘lewd’ play called a ‘Sackfull of News’ was suppressed at the Boar’s Head, Aldgate; and in September plays were forbidden in the city except, after licence by the ordinary, between All Saints and Shrovetide.

[678] The proclamation of 16 May 1559 is printed in Hazlitt, _E. D. S._ 19; Collier, i. 166; _N. S. S. Trans._ 1880-5, 17†. I do not think the proclamation loosely referred to by Holinshed (1587), iii. 1184, as at ‘the same time’ as another proclamation of 7 April is distinct from this. By 1 _Eliz._ c. 2 (the _Act of Uniformity_) the provision of 2, 3 _Edw. VI_, c. 1, against ‘derogation, depraving or despising’ the _Book of Common Prayer_ in interludes was re-enacted with a penalty of 100 marks.

[679] Cf. vol. i. p. 54.

[680] Guy, xxvii.

[681] B. Bernhard, _Rech. sur l’Hist. de la Corp. des Ménétriers ou Joueurs d’Instruments de la Ville de Paris_ (_Bibl. de l’École des Chartes_, iii. 377; iv. 525; v. 254, 339).

[682] Julleville, _Les Com._ 238.

[683] Morris, 12, 346; Rymer, xi. 642; Ribton-Turner, 109, 129, 133, 148, 182, 201; Ormerod, _Hist. of Cheshire_, i. 36; _Memorials of the Duttons_ (1901), 9, 209.

[684] _Carta le Roy de Ministralx_, in Dugdale, _Monasticon_ (1822), iii. 397, from _Tutbury Register_ in Coll. of Arms; Plot, _Hist. of Staffs._ (1686), ch. x. § 69.

[685] Rymer (1710), xi. 642, (1741) v. 2. 169.

[686] Percy, 372.

[687] _Analytical Index to Remembrancia of the City of London_, 92.

[688] Grove, _Dict. of Music_, s.v. Musicians; W. C. Hazlitt, _Livery Companies of London_.

[689] Civis, No. xxi.

[690] Poulson, _Beverlac_, i. 302 (probably from _Lansd. MS._ 896, f. 180).

[691] Leach, _Beverley MSS._ 179.

[692] Crowest, 244.

[693] _York Plays_, xxxviii. 125; M. Sellers in _Eng. Hist. Review_, ix. 284.

[694] So placed in the old MS.

[695] _Boor_—so spelt to accord with the vulgar pronunciation of the word _bower_.

[696] _Porte_—so spelt in the original. The word is known as indicating a piece of music on the bagpipe, to which ancient instrument, which is of Scandinavian origin, the sword-dance may have been originally composed.

[697] _Stour_—great.

[698] _Muckle tinte_—much loss or harm; so in MS.

[699] Something is evidently amiss, or omitted here. David probably exhibited some feat of archery.

[700] _Lout_—to bend or bow down, pronounced _loot_, as _doubt_ is _doot_ in Scotland.

[701] _Figuir_—so spelt in MS.

[702] _Agast_—so spelt in MS.

[703] _var. lect. anulas, agniculam, anniculam._

[704] _var. lect._ ulerioticos. Ducange explains _jotticos_ as ‘_ludi_, Gall. _jeux_.’

[705] _Ermuli._ Ducange, s.v., would read _hinnuli_. He says that Archbishop Ussher thought that the passage referred to the Saxon god Irminsul.

[706] _maida_ G. explains as _Backtrog_, i.e. ‘kneading-trough’ (Gk. μάκτρα); cf. Diez, _Etym. Wörterbuch_, s.v. madia; Körting, _Lat.-Rom. Wörterbuch_, No. 4980.

[707] MS. _fectum_.

[708] _Cod. Madrid_, Friga holdam; _var. lect._ unholdam.

[709] 709-709 _Omitted by Frere, probably because it was inconvenient to facsimile part only of a page._

[710] _Christu_m.

[711] et.

[712] Si_mi_li.

[713] _Omitted._

[714] dicat hoc modo.

[715] contingit.

[716] _Omitted._

[717] Deinde.

[718] _Omitted._

[719] Ungentes.

[720] Dilecti.

[721] 721-721 _Omitted: but a later hand has written on a margin of the manuscript_, Condimentis aromatum vnguentes corpus _sanc_t_issi_m_um_ quo p_re_ciosa.

[722] 722-722 _Omitted._

[723] reuoluit.

[724] appariat.

[725] _Omitted._

[726] dicat sic.

[727] _Omitted._

[728] gaudendo.

[729] dica_n_t sim_u_l.

[730] eas dicens.

[731] dicentes simul.

[732] deferens.

[733] 733-733 _Omitted._ _Lines 3-5 of the sequence are preceded by_ S_e_c_un_da Maria, _and lines 6-9 by_ Tercia Maria di_cat_.

[734] _Manly suggests_ mortuus.

[735] respondeat quasi.

[736] Tercia.

[737] et interim.

[738] _Omitted._

[739] dicentes hoc modo.

[740] audito.

[741] dicant.

[742] 742-742 _Omitted._

[743] Only a stage-direction, _Hic ludit_ [? _cadit_] _Lucifer de celo_.

[744] Imperfect.

[745] Jordan closes with an invitation to a _Redemptio_ on the morrow.

[746] Narrated.

[747] Duplicates.

[748] Misplaced.

[749] Imperfect.

[750] Late addition.

[751] Imperfect?

[752] And later fragment.

[753] Imperfect.

[754] J. Stuart, _Extracts from the Council Register of the Burgh of Aberdeen_, vol. i. 1398-1570 (Spalding Club, 1844).

[755] Dunbar, _Works_ (ed. J. Small, for Scottish Text Soc.), ii. 251.

[756] Hearne, _Liber Niger Scaccarii_ (ed. 2), ii. 598.

[757] B. H. Wortham, _Churchwardens’ Accounts of Bassingbourne_ (_Antiquary_, vii. 25); Lysons, _Magna Britannia, Cambridgeshire_, 89; Dyer, 343, from _Antiquarian Repertory_ (1808), iii. 320.

[758] C. B. Pearson, _Accounts of St. Michael’s, Bath_ (_R. Hist. Soc. Trans._ vii. 309).

[759] _Cant. Tales_, 6140 (_W. of B.’s Prol._ 558).

[760] L. T. Smith, _York Plays_, lxv.

[761] _Acta Sanctorum_, Maii, ii. 189; _Historians of the Church, of York_, i. 328 (Rolls Series, lxxi); Rock, ii. 430; A. F. Leach in _Furnivall Miscellany_, 206.

[762] A. F. Leach, _Beverley Town Documents_ (Selden Soc. xiv), l. lix. 33, 45, 75, 99, 109, 117; and in _Furnivall Miscellany_, 208; Poulson, _Beverlac_, i. 268 sqq., 302; _Lansdowne MS._ 896, f. 133 (Warburton’s eighteenth-century collections for a history of Yorkshire).

[763] A. F. Leach, in _Furnivall Miscellany_, 220.

[764] Corrie, _Boxford Parish Accounts_ (_Cambridge Antiq. Soc. Trans._ i. 266).

[765] Pearson, ii. 413; Morant, _History of Essex_ (1768), ii. 399.

[766] L. Toulmin Smith, _Ricart’s Kalendar_ (Camden Soc.), 80.

[767] L. G. Bolingbroke, in _Norfolk Archaeology_, xi. 336; _Eastern Counties Collectanea_, 272.

[768] _Hist. MSS._ xiv. 8, 133; Arnold, _Memorials of St. Edmund’s Abbey_ (R. S.), iii. 361.

[769] Masters, _Hist. of C.C.C. Cambridge_ (ed. 1753), i. 5.

[770] Hazlitt-Warton, iii. 302. The only reference given is ‘MSS. Rawlins. Bibl. Bodl. Oxon.’ Mr. F. Madan kindly informs me that the document cannot now be identified amongst the Rawlinson MSS.

[771] _Arch. Cantiana_, xvii. 147.

[772] _Ibid._ xvii. 80.

[773] _Hist. MSS. Comm._ ix. 1, 147.

[774] Pearson, ii. 414; _Freemasons’ Magazine and Magic Mirror_, Sept. 1861.

[775] Morris, 575.

[776] Morris, 317. Canon Morris does not say where he found the document. He dates it in ‘24 Hen. VIII, 1531.’ [The regnal year. 24 Hen. VIII, by the way, is 1532-3.] But the monastery is called ‘dissolved,’ which it was not until 1541. The list of Mayors (Morris, 582) gives William Snead (1516-7), William Sneyde (1531-2), William Sneyde, jun. (1543-4). Obviously two generations are concerned. The second mayoralty of the younger man was 1543-4. And the appointment of Newhall as clerk of the Pentice was in 1543 (Morris, 204). Oddly, Canon Morris’s error was anticipated in a copy of the proclamation made on the fly-leaf of _Harl. MS._ 2013 of the plays (Deimling, 1), which states that it was ‘made by Wᵐ newall, Clarke of the pentice [in R]udio 24, H. 8 [1532-3].’

[777] I reproduce Canon Morris’s text _literatim_. But he does not explain the square brackets, and I do not understand them.

[778] The ‘proclamation’ in the White Book is clearly a revision of the 1544 version. On the other hand, the Corpus Christi procession was suppressed in 1547. The ‘Banns,’ which include a pageant ‘of our lady thassumpcon’ not in the list of plays, are perhaps rather earlier.

[779] _Harl. MS._ 2150, ff. 85ᵇ-88ᵇ.

[780] It is this entry which shows that _Harl. MS._ 2150 is not the ‘White Book,’ but a copy. The official catalogue of the Harleian collection is in doubt on this point.

[781] So printed by Furnivall, possibly as an addition to the text of _Harl._ 1944, from the shorter copy of the _Breauarye_ in _Harl._ 1948.

[782] _Hist. MSS._ i. 49.

[783] C. L. Kingsford in _D. N. B._ s.v. Higden. Mr. Kingsford does not think that ‘Randle Heggenett,’ the author of the _Chester Plays_, can be identified with Higden. But ‘Higden,’ which occurs in Rogers’s list of Mayors, is an earlier form in the tradition than ‘Heggenett.’

[784] Ormerod, _Hist. of Cheshire_ (ed. Helsby), iii. 651; Morris, 315.

[785] Morris, 316. The Painters and Glaziers’ charter is quoted as calling them ‘tyme out of minde one brotherhood for the ... plaie of the Shepperds’ Wach,’ but no date is given.

[786] Ibid.

[787] _Harl. MS._ 2150, f. 85ᵇ.

[788] Morris, 318; Furnivall, xxv; _Hist. MSS._ viii. 1. 363, 366.

[789] Pennant, _Wales_, i. 145.

[790] Furnivall, xxii, xxviii.

[791] D. Rogers, _Breauarye_, in Furnivall, xviii; Morris, 303.

[792] Morris, 322, 353; Furnivall, xxvi.

[793] Morris, 322; Furnivall, xxvi; Collier, i. 112.

[794] Morris, 324; Furnivall, xxiii; Fenwick, _Hist. of Chester_, 370.

[795] Sharp, 8.

[796] C. L. Kingsford, _Henry V_, 346, says that he reached Coventry alone on March 15, and joined Katharine at Leicester on March 19. Ramsay, _Y. and L._ i. 290, quoting J. E. Tyler, _Henry of Monmouth_, ii. 28, gives the same dates. The entry in the _Leet Book_ (Harris, 139) brings him to Coventry on March 21 and with the queen. But this was Good Friday. If the _Leet Book_ is right, he might have remained for Hox Tuesday, April 1.

[797] Brewer, xiv (1), 77.

[798] _C. Mery Talys_, lvi (ed. Oesterley, 100).

[799] Heywood, _The Foure PP_, 831 (Manly, i. 510).

[800] Foxe, vi. 411; viii. 170; Maitland, _Essays on the Reformation_, 24.

[801] Sharp, 12, 39, 64, 75, 78; _Weavers’ Play_, 21.

[802] Sharp, 9; Hearne, _Fordun’s Scotichronicon_, v. 1450.

[803] Sharp, 157; Hearne, loc. cit.

[804] Sharp, 216.

[805] Sharp, 209; Halliwell-Phillipps, _Outlines_, ii. 296.

[806] Sharp, 159.

[807] J. T. Gilbert, _Calendar of Ancient Records of Dublin_, i. 239; ii. 54. Cf. Davidson, 222, and in _Modern Language Notes_, vii. 339.

[808] Harris, _Hist. of Dublin_, 147; J. C. Walker, _Hist. Essay on the Irish Stage_ (_Trans. Roy. Irish Acad._ ii (1788), 2. 75), from MS. of Robert Ware.

[809] Walker, loc. cit.; Sir James Ware, _Annales Rerum Hibern._ (1664), 161; _Variorum_, iii. 30, from MS. in Trin. Coll. Dublin. W. F. Dawson, _Christmas: its Origin and Associations_, 52, says that Henry II kept Christmas at Hogges in 1171 with ‘miracle plays.’ But I cannot find the authority for this.

[810] Gilbert, op. cit. i. 242.

[811] Matthew Paris, _Gesta Abbat. S. Albani_, ap. H. T. Riley, _Gesta Abbatum S. Albani_ (R. S.), i. 73; Bulaeus, _Historia Universitatis Parisiensis_, ii. 226; Collier, i. 13.

[812] J. D. Marwick, _Records of Edinburgh_ (Scottish Burghs Record Soc.), ii. 193 sqq.

[813] Kelly, 19.

[814] Pearson, ii. 413.

[815] L. G. Bolingbroke, _Pre-Eliz. Plays and Players in Norfolk_ (_Norfolk Archaeology_, xi. 338).

[816] _N. and Q._ xii. 210; Kelly, 68.

[817] _Hist. MSS._ xiii. 4. 300.

[818] _Hist. MSS._ xiii. 4. 288.

[819] R. Johnson, _Ancient Customs of Hereford_ (ed. 2. 1882), 119.

[820] _Hist. MSS._ xiii. 4. 352.

[821] Nichols, _Extracts from Churchwardens’ Accounts_, 175.

[822] W. Sandys, _Christmas Carols_, xc.

[823] G. Hadley, _Hist. of Kingston upon Hull_ (1788), 823.

[824] W. Andrews, _Historic Yorkshire_, 43; _Curiosities of the Church_, 19.

[825] J. Wodderspoon, _Memorials of the Ancient Town of Ipswich_ (1850), 161; _Hist. MSS._ ix. 1. 245.

[826] Nathaniel Bacon, _The Annalls of Ipswich_, 1654 (ed. W. H. Richardson, 1884), 102 and _passim_. Some additional notices are in _Hist. MSS._ ix. 1. 241 sqq.

[827] R. S. Ferguson, _A Boke of Record ... of Kirkbie Kendall_ (Cumb. and Westm. Arch. and Ant. Soc.), 91, 136.

[828] See s.v. Manningtree.

[829] Weever, _Funeral Monuments_, 405.

[830] I. Disraeli, _Curiosities of Literature_, Second Series, iii. 343.

[831] Bale, _Vocacyon to Ossory_ (1553), in _Harleian Miscellany_ (ed. 1745), vi. 402; (ed. 1808), i. 345.

[832] _Hist. MSS._ xi. 3. 165, 223, 224. The original documents appear to be in Latin.

[833] Harrod, _King’s Lynn Records_, 87.

[834] Cf. Appendix E (viii).

[835] Lysons, _Environs of London_, i. 229.

[836] See s.v. Kendal.

[837] Percy, _N. H. B._ 343, 345.

[838] Kelly, 27, 187. M. Bateson, _Records of Leicester_, ii. 297; J. Nichols, _History of Leicestershire_, iv. i. App. 378, 9.

[839] Kelly, 188.

[840] Kelly, 7.

[841] Kelly, 14, 16.

[842] Kelly, 15, 18, 19, 20; T. North, _Accounts of Churchwardens of St. Martin’s_, 2, 21, 74, 86, 87.

[843] Kelly, 193.

[844] _Lincoln Statutes_, ii. 15, 23.

[845] Cf. vol. i. p. 91.

[846] Wordsworth, 126, and in _Lincoln Statutes_, ii. lv. The entry given for 1452 in the latter omits ‘et Prophetis.’

[847] Wordsworth, 126.

[848] A. F. Leach, in _Furnivall Miscellany_, 223; Rock, ii. 430.

[849] Leach, loc. cit. 224.

[850] Wordsworth, 139.

[851] Leach, loc. cit. 224; _Lincoln Statutes_, ii. ccliv; _Hist. MSS._ xiv. 8. 25.

[852] Wordsworth, 141; Leach, loc. cit. 223, from _Chapter Act Book_, A. 31, f. 18; _Shaks. Soc. Papers_, iii. 40, from copy of same document in _Harl. MS._ 6954, p. 152. The latter has ‘Serenomium’ (for Ceremonium). Mr. Leach reads ‘Sermonium’ and translates ‘speech.’

[853] Leach, loc. cit. 227; _Gentleman’s Magazine_, liv. 103.

[854] J. C. Robertson, _Materials for the Hist. of Becket_ (R.S.), iii. 9.

[855] Dodsley, _Collection of Old Plays_ (1744), i. xii. I cannot trace the original authority.

[856] Malvern, _Continuator_ to _Higden’s Polychronicon_ (ed. J. R. Lumby in R.S.), ix. 47.

[857] Malvern, loc. cit. ix. 259. Probably this is the play for which the Issue Roll of the Exchequer for Easter—Michaelmas, 1391 (F. Devon, _Issues of the Exchequer, Hen. III-Hen. VI_, 244), records on July 11, 1391, a payment ‘to the Clerkes of the Parish Churches and to divers other clerkes of the City of London, in money paid to them in discharge of £10 which the Lord and King commanded to be paid them of his gift on account of the play of the Passion of our Lord and the Creation of the World by them performed at Skynner Well, after the Feast of Bartholomew last past.’ But the dates do not quite agree, and there may have been a play at Bartholomew-tide 1390 as well as that of July, 1391.

[858] _London Chronicle_, 80.

[859] _London Chronicle_, 91. The _Cott. MS._ reads ‘Clerkenwelle’ for the ‘Skynners Welle’ of the _Harl. MS._ _Gregory’s Chronicle_ (_Hist. Coll. of a Citizen of London_, Camden Soc.), 105, also mentions ‘the grette playe at Skynners Welle’ in 1409.

[860] J. H. Wylie, _Hist. of Henry IV_, iv. 213.

[861] J. G. Nichols, _Grey Friars Chronicle_ (Camden Soc.) 12; R. Howlett, _Monumenta Franciscana_ (R.S.), ii. 164.

[862] J. Christie, _Some Account of Parish Clerks_, 24, 71.

[863] H. Morley, _Memoirs of Bartholomew Fair_, 15.

[864] Stowe, _Survey_, 7.

[865] Andrew, _Annales Henr. VII_ (R.S.), 121.

[866] Collier, in _Shakesp. Soc. Papers_, iii. 40. The ‘pagents’ on a roll of vellum belonging to the Holy Trinity Guild in St. Botolph’s, Bishopsgate (†1463), were probably only paintings with descriptive verses (Hone, 81).

[867] Kempe, 71. The date given, Shrovetide, 38 Hen. VIII, must be wrong, as the king died before Shrovetide (Feb. 20-2) in the thirty-eighth year of his reign.

[868] Herbert, _Hist. of Livery Companies_, i. 80.

[869] E. B. Jupp, _Hist. of Carpenters’ Company_, 198.

[870] Collier, i. 51.

[871] Machyn, 138.

[872] Machyn, 145.

[873] Prynne, 117.

[874] Stowe, _Annales_, 489; _Survey_, 38; Herbert, i. 197, 454; Brand-Ellis, i. 166.

[875] R. W. Goulding, _Louth Records_.

[876] _Hist. MSS._ v. 517.

[877] _Manningham’s Diary_ (Camden Soc.), 130.

[878] Heywood, _Apology for Actors_ (Shakespeare Soc.), 61.

[879] Quoted in _Variorum_, xvi. 295.

[880] Dekker’s _Plays_ (ed. Pearson).

[881] Hazlitt-Warton, iii. 312.

[882] Harrod, _King’s Lynn Records_, 88.

[883] W. Hobhouse, _Churchwardens’ Accounts_ (Somerset Record Soc.), 209.

[884] F. Holthausen, _Das Noahspiel von N. upon T._ (1897), 11; H. Bourne, _Hist. of N._ (1736), 139; J. Brand, _Hist. of N._ (1789), ii. 369; E. Mackenzie, _Hist. of N._ (1827), ii. 664, 707; F. W. Dendy, _Newcastle Gilds_ (Surtees Soc.), i. 4; ii. 161, 164, 171.

[885] W. A. Scott-Robertson, _The Passion Play and Interludes at New Romney_ (_Archaeologia Cantiana_, xiii. 216); _Hist. MSS._ v. 533; _Arch. Cantiana_, xvii. 28.

[886] C. A. Markham and J. C. Cox, _Northampton Borough Records_, ii. 184.

[887] _Paston Letters_, iii. 227.

[888] H. Harrod, _Particulars concerning Early Norwich Pageants_ (_Norfolk Archaeology_, iii. 3).

[889] R. Fitch, _Norwich Pageants: The Grocers’ Play_, in _Norfolk Archaeology_, v. 8, and separately.

[890] Fitch, op. cit.; Blomfield, _Hist. of Norfolk_, iii. 176.

[891] Blomfield, iv. 426.

[892] Cf. vol. i. p. 222.

[893] Cf. Appendix E (v).

[894] W. Hobhouse, _Churchwardens’ Accounts_ (Somerset Record Soc.), 232.

[895] Norris, ii. 452; E. H. Pedler in Norris, ii. 507; Carew, _Survey of Cornwall_; D. Gilbert, _History of Cornwall_; Borlase, _Antiquities of Cornwall_ (ed. 2), 207; _Nat. Hist. of Cornwall_, 295; T. F. Ordish, _Early London Theatres_, 15.

[896] See s.v. Kendal.

[897] W. A. Abram, _Memorials of the Preston Guilds_, 18, 21, 61, 99.

[898] C. Kerry, _History of St. Lawrence, Reading_, 233. Extracts only from the accounts are given; a full transcript would probably yield more information.

[899] W. H. R. Jones, _Vetus Registrum Sarisburiense_ (R.S.), ii. 129.

[900] _Cal. State Papers, Dom. Addl._ (1580-1625), 101.

[901] Jones and Macray, _Salisbury Charters_ (R.S.), xi, 102.

[902] Cf. Appendix E (vi).

[903] Phillips, _Hist. of Shrewsbury_, 201.

[904] Phillips, 201.

[905] Owen and Blakeway, _Hist. of Shrewsbury_, i. 328.

[906] _Shropshire Arch. Soc. Trans._ viii. 273.

[907] F. A. Hibbert, _Influence and Development of English Craft Guilds_ (1891). 113.

[908] _Add. MS._ 28,533, ff. iᵛ, 2. _Computi_ from 1477 to 1545 are in this MS.; but most of them are very summary.

[909] _York Plays_, lxv.

[910] G. Oliver, _Hist. of Holy Trinity Guild at Sleaford_ (1837), 50, 68, 73, 82.

[911] Cf. Appendix E (vii).

[912] Collier, ii. 67.

[913] Hobhouse, 184.

[914] Hazlitt-Warton, iii. 163, from _Register_ of St. Swithin’s. This is amongst the _Wulvesey MSS._, now in the possession of the Ecclesiastical Commissioners (_York Plays_, lxv). The date is given as 1487 by Hazlitt-Warton, but the visit is said to be that ‘on occasion of the birth of Prince Arthur,’ which took place in the autumn of 1486.

[915] _London Chronicle_, 159.

[916] Cf. e.g. _Durham Accounts_, i. 95, 101, 105 ‘Soteltez ... Sutiltez ... Suttelties erga Natale.’

[917] E. Picot, in _Romania_, vii. 245.

[918] _Hist. MSS._ xiv. 8, 187.

[919] Halliwell-Phillipps, i. 342; Toulmin Smith, _Ordinances of Worcester_ in _English Guilds_, 385, 407 (E. E. T. S.).

[920] _Norfolk Archaeology_, ix. 145; xi. 346.

[921] A. Nevyllus, _De furoribus Norfolciensium Ketto Duce_ (1575), i. 18; Holinshed (1587), iii. 1028.

[922] L. G. Bolingbroke, in _Norfolk Archaeology_, xi. 334.

[923] _Lincoln Statutes_, ii. 98; cf. _Use of Sarum_, i. xxii*.

[924] Cf. p. 409.

[925] _York Plays_, xxxv, xli; _Arch. Review_, i. 221.

[926] Drake, _Eboracum_, App. xxix; Davies, 243; _York Plays_, xxxiv. Melton is called ‘sacrae paginae professor,’ which Drake and many light-hearted scholars after him, down to A. W. Ward (ed. 2, 1899), i. 53, translate ‘professor of holy pageantry.’ The ‘sacred page,’ however, is the Bible, and the title = S.T.P., or D.D.

[927] Davies, 245.

[928] _Antiquary_, xxiii. 29.

[929] _York Plays_, xxi, 125; _E. H. R._ ix. 285.

[930] Wyclif, _English Works_, ed. Mathew (E. E. T. S.), 429.

[931] _York Plays_, xxix; Toulmin, _English Gilds_ (E. E. T. S.), 137.

[932] _Antiquary_, xxii. 265.

[933] Halliwell, _Letters of the Kings of England_, i. 354, from a Latin original in the _Bodl. Rawlinson MSS._

[934] Davies, 263.

[935] Davies, 273; _Arch. Review_, i. 221.

[936] Printed in _York Plays_, xix.

[937] Printed in Davies, 233.

[938] W. Andrews, _Yorkshire in Olden Times_, 105, 146.

[939] _D. N B._ s.v. Hegge. _Poems of Richard James_ (ed. Grosart, xxii); T. Fowler, _Hist. of C. C. C._ 175, 183, 394.

[940] Dugdale, _Hist. of W._ (1656), 116. A not materially different version, from Dugdale’s MSS., is given by Sharp, _Dissertation_, 218. Nor does Sharp, in the account of the Grey Friars in his _Hist. and Antiq. of Coventry_ (1817), add any information as to their plays.

[941] Hearne, _Fordun’s Scotichronicon_, v. 1493 (from MS. of _Annals_, penes Thomas Jesson of Ch. Ch.) ‘This yeare the King came to se the playes acted by the Gray Friers and much commended them.’ The mayoral list in this text of the _Annals_ goes to 1675. It is probably another that Sharp, _Diss._ 5, quotes as making the same statement and describes as ‘not older than the _beginning_ of Charles I’s reign.’ He does not give the full entry. Is it the basis of Mr. Fretton’s addition to the 1871 ed. of Sharp’s _Hist. and Antiq. of Cov._ 202 ‘1492. Henry 7th and his Queen saw the Plays at Whitsuntide’? Can ‘by the Gray Friers’ mean ‘at a station by the convent’? In the Carpenters’ accounts for 1453 is an item ‘for the mynstrell at the frerˢ.’ This, says Sharp, _Diss._ 213, relates to the craft’s annual dinner held at the White Friars. There is no other possible allusion to friars’ plays in Mr. Sharp’s extracts.

[942] Ten Brink, iii. 276; Sharp, 45.

[943] Hohlfeld, in _Anglia_, xi. 228.

[944] The term ‘pageant’ is once used in the stage-directions (Halliwell, 132) ‘Hic intrabit pagentum de purgatione Mariae et Joseph.’

[945] Ten Brink, ii. 283; Pollard, xxxvii. Hohlfeld (_Anglia_, xi. 228) combines two theories by suggesting that the Coventry Grey Friars were driven by the popularity of the rival craft-plays to travel.

[946] Holthausen, 16.

[947] F. W. Denby, _Newcastle Gilds_ (Surtees Soc.), ii. 165, 168.

[948] _Norfolk Archaeology_, iii. 3.

[949] _Collectanea_ (Oxf. Hist. Soc.), i. 130.

SUBJECT INDEX

[This index is almost wholly confined to the text, and only
includes the principal passages dealing with each subject. I
am sorry not to have been able to prepare a local or a nominal
index. The want of the former may be in part met, so far as
the miracle-plays are concerned, by the topographical list of
representations in Appendix W.]

_A l’entrada dal tens clar_, i. 170.

_Abbayes joyeuses_, i. 375, 383.

Abbesses, mock, i. 361.

Abbot, of Bon-Accord, i. 173, ii. 333;
of Marham, i. 173, ii. 250;
of Misrule, i. 403;
of Unreason, i. 181, ii. 335.

_Abraham and Isaac_, plays of, ii. 130, 426.

_Abrenuntiatio_, i. 19, 97.

_Absalon_ of Thomas Watson, ii. 195, 458.

Account-books, extracts from, on minstrelsy and plays, ii. 234, 240.

_Acolastus_, of Gnaphaeus, ii. 217;
of John Palsgrave, 459.

_Actio_, term for miracle-play, ii. 105.

Actors, a perplexity to Roman government, i. 3, 7;
punished for satire, 5;
private performances of, 7;
_infamia_ of, 8, 12, 14, 16;
hostility of, to Christianity, 10;
become minstrels, 24;
in miracle-plays, regulations for, ii. 114;
payment of, 139;
professional, under Tudors, 186, 225;
the King’s, 187, 201;
economic _status_ of, under Elizabeth, 225.

_Actus_, term for miracle-play, ii. 105.

_Adam_, ii. 70;
analysis of, 80;
vernacular mingled with Latin in, 89.

Adam le Boscu, minstrel in 1306, i. 47.

Adan de la Hale, plays of, i. 171, 381.

Adoptionist controversies, and Christmas, i. 240.

_Adoratio Crucis_, ii. 16.

Advent, i. 247;
liturgical drama in, ii. 62, 67.

Agricultural festivals. _See_ Feasts, Village festivals.

Agriculture, begun by women, i. 106;
religion of, 106, 109.

_Aguilaneuf_, i. 254.

Alcuin, his dislike of minstrelsy, i. 32, 35.

Ales, i. 179.

Allegory in mediaeval drama, ii. 151.

Alleluia, funeral of, i. 186.

All Saints’ day, i. 247, 265.

All Souls’ day, i. 247, 265.

_Altercatio Ecclesiae et Synagogae_, ii. 64, 152.

_Amour_, _Prince d’_, at Middle Temple, i. 416.

Ancestors, cult of, at New Year, i. 264.

Andrew, St., his day, i. 232.

_Andria_ of Terence, ii. 215, 456.

_Anglo-Saxon Chronicle_, songs in, i. 31.

Anglo-Saxons, non-professional singers of, i. 64.

Animals, cult of, i. 131.

Animism, i. 103.

Anne, St., miracle-plays on her day, ii. 118, 127, 130.

Annunciation, dramatic ceremonies at, ii. 66.

Annunciation style, i. 246.

_Antichristus_, liturgical play of, ii. 62, 151.

_Antiphonarium_ of Gregory the Great, ii. 7.

Antiphons, nature of, ii. 6.

_Apfeln-Bischof_, i. 369.

Apostles, feast of, at Beauvais, i. 287;
at Sens, 288.

Aquinas, on minstrels, i. 58.

_Archipropheta_ of Grimald, ii. 451.

Armenians, on birthday of Christ, i. 239.

_Armiger_, title of minstrel, i. 50, ii. 139.

Aryan and pre-Aryan in folk-lore, i. 101.

Ascension, feast of, i. 114;
dialogued trope for, ii. 11;
dramatic ceremony at, 65;
miracle-play at, 129.

_Asotus_ of Macropedius, ii. 217.

Ass, ears of, worn by ‘fools,’ i. 385;
liturgical drama, ii. 57.
_See_ _Palmesel_.

Asses, feast of, i. 275, 282, 304, 305, 320, 330, 374, 377.
_See_ Prose of Ass.

Atellanes, i. 2, 4.

_Aubes_, i. 78, 171.

_Aucassin et Nicolete_, i. 42, 45, 74.

_Auctor_ of plays, i. 83.

Augustine, St., and theatre, i. 12, 17;
a character in miracle-plays, ii. 72, 77.

Ausonius, his _Ludus Septem Sapientum_, ii. 212.

Authorship of miracle-plays, ii. 144.

_Autos Sacramentales_, ii. 95, 105.

_Baculus_, feast of, i. 276, 279, 283, 289, 309, 319, 325, 345.

Balaam, episode of, in _Prophetae_, ii. 55, 72.

Baldwin, William, his plays, ii. 194, 200.

Bale, John, ii. 131, 144, 220, 222, 224, 446.

Ball, tossed at festivals, i. 128;
at Feast of Fools, 327;
struggle for, in games, meaning of, 149.

Ballad, in Elizabethan age, i. 69.

_Ballationes_, i. 161.

‘Banns’ of miracle-plays, ii. 114, 122, 140, 144.

Barbarian indifference to theatre, i. 19, 21.

Bards, classes of, i. 76.

‘Barring-out,’ i. 263.

_Barritus_ of Germans, i. 26.

Bartholomew Fair, puppet-shows at, ii. 158.

_Basoches_, i. 375.

_Bastaxi_, i. 71.

Baston, Robert, his _tragoediae_, ii. 211.

Bathing at folk-festivals, i. 122.

Battle, mock, in folk-drama, i. 187, 210.
_See also_ _Débats_.

Bauble of fool, i. 385.

Bean, king of, i. 260, 408.

‘Bearing the book,’ ii. 140.

Bearwards, i. 68, 72.

Beast-dances, i. 166.

Beast-mimicry, by minstrels, i. 71.

‘Beating the bounds,’ i. 120, 143.

_Beauty and Good Properties of Women_, ii. 455.

Beelzebub, in Plough Monday play, i. 209;
in St. George play, 214.

Befana, i. 268.

Bel, cult of, in Bohemia, i. 253.

Bells, in morris-dance, i. 200;
in sword-dance, 201.

_Beltane_, i. 111, 133, 138, 143.

Belus, cult of, in Europe, i. 112, 234.

Benedictbeuern manuscript, liturgical plays in, ii. 37, 39, 40, 72,
76.

_Benedictio fontium_, i. 124.

_Beowulf_ i. 29;
sword-dance in, 191.

‘Bessy’ in sword-dance, i. 192, 194, 198, 206, 210.

‘Bezant’ procession, i. 119.

Bilingual religious plays, ii. 89, 108.

‘Bishops’ of Fools, i. 295, 326, 368.
_See_ Feast of Fools, _passim_.

Black faces at folk-festivals, i. 125, 154, 199, 214.

Blood, importance of, in sacrifice, i. 132, 138.

_Blôt-monath_, i. 256.

Boar, sacrificial animal at New Year, i. 257.

Bon Accord, abbot of, i. 173, ii. 333.

_Bordeors Ribauz, Des Deus_, i. 67, 79, 85.

_Bouffons_, _danse des_, i. 191.

‘Box-holder’ in St. George play, i. 217.

Boy Bishop, sermons of, i. 356;
in schools and universities, 362;
disliked by Reformation, 366;
customs of, resemble Feast of Fools, 368;
in religious drama, ii. 72.

Boy Bishop, at Sens, i. 344;
at Rouen, 345;
at Bayeux, 345;
at Coutances, 346;
at Tours, 347;
at Toul, 347;
in France generally, 349;
at Noyon, 350;
in Spain, 350;
in Germany, 350;
at Salisbury, 352, ii. 282;
at Exeter, i. 354;
at St. Paul’s, 354;
at York, 356, ii. 287;
at Beverley, i. 357;
at Lincoln, 358;
vogue of, in England, 358;
at Westminster, 360;
at Durham, 360;
at Winchester, 361.

Boys, feast of. _See_ Boy Bishop.

_Braies_, _fête de_, at Laon, i. 302;
_roi de_, 373.

Breri, a _fabulator_, i. 77.

Broom, in St. George play, i. 215.

Brothelyngham, order of, at Exeter, i. 383.

_Brumalia_, i. 234.

_Buffons_, _les_, name for morris-dance, i. 200.

Buffoons. _See_ Fools, Minstrels.

_Bufos_, i. 63.

Bull-baiting, origin of, i. 141, 257.

_Burial and Resurrection_, ii. 129, 431.

‘Burial of Carnival,’ i. 186.

Burlesque of worship at Feast of Fools, i. 280, 286, 294, 296, 325,
381.

Cabham, Thomas de, his classification of minstrels, i. 59, ii. 262.

Cakes at festivals, i. 133, 142, 260.

Calendar, origins of, i. 110, 229, 232.

_Calisto and Meliboea_, ii. 455.

Candlemas, i. 114, 126, 163, 251.

_Cantica_, i. 161, 169.

_Canticum triumphale_, ii. 74.

_Cantilenae_, of folk and _scôp_, i. 26;
on heroes, 163, 167;
of sword-dance, 192.

Carnival, i. 114, 121;
‘burial’ of, 186.

_Caroles_, i. 164, 272.

‘Carping,’ of minstrels, i. 72.

_Cartuaitheail_, i. 129.

_Castle of Perseverance_, ii. 155, 437.

Catherine, St., her day, i. 247;
plays on legend of, ii. 64, 107, 133.

‘Catherning,’ i. 253.

Cawarden, Sir Thomas, i. 405.

Censorship of stage, ii. 225.

Cereal sacrifices, i. 133;
survival of in folk-festivals, 142, 260.

_Ceri_, procession of, at Gubbio, i. 119.

_Cernunnos_, i. 259.

_Cervulus_, i. 258, 330.

_Chansons_, of minstrels, i. 73;
_de gestes_, 74;
dramatic elements in, 77;
_de carole_, 164;
_à danser_, 171;
_de mal-mariées_, 171.

Chanteloup, Walter de, attacks folk-_ludi_, i. 91.

Chapel Royal, plays by, ii. 193, 202.

_Charivari_, i. 153, 379.

Charlemagne, and heroic song, i. 26;
a patron of minstrels, 36.

_Charlot et le Barbier_, of Rutebeuf, i. 79.

Charms, i. 121.

Chaucer, a typical _trouvère_, i. 64;
interludes based on, ii. 205.

Cheke, Henry, his _Freewill_, ii. 461.

‘Chekkar,’ minstrels of, at Scottish court, i. 50.

_Chester Plays_, ii. 407.

_Chevauchées_, i. 153, 379.

Children, inheritors of folk-customs, i. 152;
place of, in winter feasts, 263.

Chimney-sweeps, their connexion with May-day, i. 125.

Choir-boys, miracle-plays acted by, ii. 121.

_Chori_, in folk-dance and song, i. 27, 163.

Christianity, elements of, in folk-custom, i. 249.

Christmas, St. George play at, i. 226;
origin of, 238;
in Saxon England, 244;
New Year customs at, 246;
in mediaeval England, 390;
masques at, 391;
at universities, 407;
at inns of court, 413;
dialogued tropes for, ii. 8, 11, 41;
_praesepe_ at, 42;
liturgical plays at, 41;
miracle-plays at, 70, 129.

Christmas-boxes, i. 271.

Christmas-flowering trees, i. 252.

Christmas lord. _See_ Misrule, lord of.

‘Christmas,’ Old Father, in St. George play, i. 216.

Christmas Prince, at St. John’s College, Oxford, i. 408.

Christmas trees, i. 251.

Christopherson, John, his _Jephthes_, ii. 218.

Χριστὸς Πάσχων, ii. 206.

_Christus Redivivus_ of Grimald, ii. 450.

_Christus Triumphans_ of John Foxe, ii. 458.

Chrysostom, St., and theatre, i. 15;
and _pantomimi_ at banquets, 24;
and Kalends, 244.

Churches, dances in, i. 163;
‘clipping’ of, 166;
miracle-plays in, ii. 79, 134;
interludes in, 191.

Churchyards, miracle-plays in, ii. 134.

Circular movement as sun-charm, i. 129.

Circumcision, feast of, i. 245, 330.
_See_ New Year, Kalends, Feast of Fools.

_Cithara_, i. 73.

Classical plays, Renascence performances of, ii. 214.

‘Clemencing,’ i. 253.

Clement, St., his day, i. 247.

Clergy, their share in miracle-plays, ii. 117, 120.

_Clerico et Puella, Interludium de_, i. 86, ii. 181;
text of, ii. 324.

Clerks’ plays, ii. 104, 140, 202.

‘Clipping the church,’ i. 166.

Cockneys, king of, at Lincoln’s Inn, i. 414.

Cocks-comb, worn by fools, i. 385.

_Columpnarium_, ii. 213.

Comedy, on Roman stage, i. 2;
extinction of classical, ii. 207;
mediaeval sense of term, 209;
humanist revival of, 212;
in Tudor interlude, 215.

_Compagnies des fous_, i. 373.
_See_ _Sociétés joyeuses_.

_Complaint of Deor_, i. 29.

_Computi_, extracts from, on minstrelsy and plays, ii. 234, 240.

_Concordia Regularis_, ii. 14, 306.

_Conductus_, i. 282.

Conduits, filled with wine, ii. 166;
pageants on, 173.

_Conflict of Vice and Virtue_, ii. 153.

_Confrérie de la Passion_, ii. 88.

_Confréries_, for Feast of Fools, i. 373.

Constance, council of, performance of _Stella_ at, ii. 101.

_Contes_, i. 74.

_Contrafazedor_, i. 82.

Controversy, religious, in drama, ii. 217.

Conversion of England, i. 95.

_Coquille_, _seigneur de la_, i. 374.

Corbeil, Pierre de, and the Feast of Fools, i. 281, 287.

_Cornards_, i. 374, 384.

Coronations. _See_ Entries.

Cornish plays, ii. 127, 433.

Corporations, their control of miracle-plays, ii. 114;
their expenses, 115;
plays sometimes produced by them, 118.

Corpus Christi, miracle-plays at, ii. 77, 94, 108, 112, 138, 160;
procession at, 138, 160, 329;
guilds of, 118.

Corraro, his _Progne_, ii. 212.

‘Cosmic’ dramas. _See_ Cycles.

Costume, of minstrels, i. 44;
at folk-festivals, 185;
in St. George play, 219;
of fools, 384;
in miracle-plays, ii. 122, 141.

Court, the English, minstrels at, i. 47, ii. 234;
fools at, i. 386;
Christmas at, 390;
revels and disguisings at, 391;
lord of misrule at, 403;
master of revels at, 404;
miracle-plays at, 397, ii. 130, 184;
interludes at, 186, 192.

_Courtois d’Arras_, i. 79.

Courts of minstrelsy, i. 54.

Coventry, plays at, ii. 422.
_See_ _Ludus Coventriae_.

_Cradle of Security_, ii. 189, 200.