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The common ways with bowes are strawde, renown. Apollinarius, the elder, a pro

and every streete beside, And to the walles and windowes all

are boughes and braunches tide. The monkes in every place do roame,

the nonnes abrode are sent, The priestes and schoolmen lowd do rore, some use the instrument. The straunger passing through the streete, upon his knees doe fall: And earnestly upon this bread,

as ou his God, doth call.

For why, they counte it for their Lorde,
and that he doth not take

The form of flesh, but nature now
of breade that we do bake.
A number great of armed men
here all this while do stande,
To looke that no disorder be,

nor any filching hande:
For all the church-goodes out are brought,
which certainly would bee
A bootie good, if every man
might have his libertie."*

The Religious Plays performed on Corpus Christi Day, in the times of superstition, were such as were represented at other periods, though with less ceremony. From a volume on the subject, by the editor of the Every-Day-book he, relates so much as may set forth their origin and the nature of the performances.

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found philologer, translated the five books of Moses into heroic verse, and in the same manner composed the history of the Israelites to the time of Saul, into a poem of twenty-four books, in imitation of Homer. He also wrote religious odes, and turned particular histories and portions of the Old and New Testament into comedies and tragedies, after the manner of Menander, Euripides, and Pindar. His son the bishop, an eloquent rhetorician, and already an antagonist of Julian's, anxious that the Christians might not be ignorant of any species of Greek composition, formed the writings of the evangelists, and the works of the apostles, into dialogues, in the manner of Plato.

About the same time, Gregory Nazian zen, patriarch and archbishop of Constantinople, one of the fathers of the church, and master to the celebrated Jerome, composed plays from the Old and New Testament, which he substituted for the plays of Sophocles and Euripides at Constantinople, where the old Greek stage had flourished until that time. The ancient Greek tragedy was a religious spectacle; and the sacred dramas of Gregory Nazianzen were formed on the same model; he transformed the choruses into Christian hymns. One only of the archbishop's plays is extant: it is a tragedy cailed "Christ's Passion;" the prologue calls it an imitation of Euripides; the play is preserved in Gregory Nazianzen's works. The remainder of his dramas have not survived those inimitable compositions over which they triumphed for a

time.

Origin of Religious Plays. A Jewish play, of which fragments are still preserved in Greek iambics, is the first drama known to have been written on a scripture subject. It is taken from Exodus: a performer, in the character of Moses, delivers the prologue in a speech of sixty lines, and his rod is turned into a serpent on the stage. The play is supIt is not known whether the religious posed to have been written at the close dramas of the Apollinarii perished so of the second century, by one Ezekiel, a early as some of their other writings, that Jew, as a political spectacle to animate were ordered to be destroyed for, a crime his dispersed brethren with the hopes of common in all ages, heresy; but this is future deliverance from their captivity. certain, that the learning they endeavour The emperor Julian made a law that no ed to supply gradually disappeared before Christian should be taught in the heathen the progress of Constantine's establishschools, or make use of that learning; but ment. Suddenly acquiring power, and there were two men living at that time, finally assuming infallibility, observing who exerted their talents to supply the pagan feasts as religious festivals, conse deficiency of instruction and entertain- crating heathen rites into christian solem ment that the Christians experienced nities, and transforming the non-obserfrom Julian's edict: these were Apollina- vances of primitive simplicity into prece rius, bishop of Laodicea, and his father, a dents for gorgeous ceremony, the church priest of the same city; they were both blazed with a scorch ng splendour that scholars, well skilled in oratory and the rules of composition, and of high literary

Naogeorgus, by Googe.

withered up the heart of man. Every accession to the dominion of its ecclesias tics over his property and intellect induced self-relaxation and sloth; to the boldness

church until within a short time before
the reformation, darkness overspread the
world, and the great mass of the clergy
themselves were in a state of deplorable
ignorance. During this period, in order
to wean the people from the ancient spec-
tacles, particularly the Bacchanalian and
calendary solemnities, religious shows
were instituted partaking of the same
spirit of licentiousness.

To these shows the clergy added the
acting of mysteries, or representing the
miraculous acts of saints circumstances
from apocryphal story, and subjects
from the Old and New Testament.
There are different opinions as to the
religious class by whom they were in-
troduced into Europe, though it seems
reasonable to suppose that they were
adopted by the Italians in the depth of
the dark ages from the spiritual dramas
of the Apollinarii, father and son, and
Gregory Nazianzen; but, however that
may be, there is no room for surprise that
all writers concur in attributing the per-
formance of mysteries, or religious plays,
to the clergy of the catholic church.

that seized a liberal supply for spiritual support, succeeded the craft that extended it to a boundless revenue for effeminate indulgence. The miraculous powers of the church wonderfully multiplied; but mplicit belief in miracles was equivocal, unless the act of faith was accompanied by liberal contributions at the altar. The purchase of pardons for sin, and the worship of the relics exhibited in sumptuous shrines, were effectual ways of warring with the powers of darkness, and the coffers overflowed with contributions. These active hostilities against Satan occasioned him to ascend upon earth, and, to terrify the devout, he often appeared to them in the natural ugliness of his own proper person. When put to flight, by masses and holy water, he took lodgings incog. to the bodies of careless people, nor would he leave a tenement he occupied, till he was forcibly turned out of possession by a priest acquainted with the forms of ejectment. Dislike to clean linen was peculiar mark of piety, and dirty hermits emitted the odour of sanctity. Though their holinesses were so violently bated by the devil, that he took the trouble to assault and tempt them in the holes of the earth and trunks of old trees where they inhabited, yet it was rewarded with visits to their chosen abodes from all the orders of heaven; and by long familiarity with the powers of the other world, these tender-nosed saints could detect the presence of invisible angels." They who turn their backs upon the concerns of The first dramatic representation in life were especial favourites above. A Italy was a spiritual comedy, performed nun reported that Christ opened her side at Padua in 1243; and there was a comwith his corporal hands, took out her pany instituted at Rome in 1264, whose heart, and then carefully placing his own chief employment was to represent the in the chasm, left it there and closed the sufferings of Christ in Passion week. The wound, at the same time doing her the rev. Mr. Croft, and the hon. Topham honour to wear her shift. Nor did the Beauclerc, collected a great number of faithful, who believed the former relation, these Italian plays or mysteries; and at doubt for an instant that the Virgin de- the sale of their libraries, Dr. Burney purscended from heaven to visit the cells of chased many of the most ancient, which monasteries, and milk her breasts into he speaks of as being evidently much earthe mouths of monks. Doubts were ef- lier than the discovery of printing, from fectually removed by burning doubters. the gross manner in which the subjects All who were privileged to shave the top are treated, the coarseness of the dialogue,

As mysteries arose with Gregory Nazianzen, it is not likely that his example as a father of the church should be lost sight of as soon as he had succeeded in destroying the performance of the ancient Greek plays; yet English writers do not appear to have traced sacred representations in a dramatic form until many centuries after Gregory Nazianzen's death.

of the head in a circle,
as a token of eman- and the ridiculous situation into which

expation from worldly superfluities, were
partners in the profitable trade of granting
licenses for unmolested existence at the
price of unconditional admission. Eccle-
siastical policy accomplished its purpose:
the human mind was in a delirium; the
hierarchy at the summit of its ascendancy.
From the complete establishment of the

most sacred persons and things are thrown.

sumptuous entertainment at Paris ever
In 1313, Philip the Fair gave the most
remembered in that city. Edward II.
and his queen Isabella, crossed over from
England with a large retinue of nobility
and partook of the magnificent festivities
The pomp and profusion of the banquet

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tings, the ranety of the amusements, and the splendour of the costume were unsurpassed. On each of the eight days the princes and miles changed their dresses three times: wille the people were sometimes entertained with representations of the Glory of the blessed, at other times with the Torments of the damned, and vannus other spectacles. In 1402, by an edict of Charles VI. dated Dec. 4, the mystery of the conception, passion, and resurrection of Christ, was performed at St. Maur, about five miles from Paris. At the event at Constance, in the year 1417, the English fathers played the mystery of the massacre of the Holy InnoThe mystery of the passion was performed on the entrance of the kings of France and England at Paris, on December 1. 1420, in the street Karade, before the palace, upon a raised scaffolding of one hundred paces in length.

In the Royal Library of Paris, No. 4350, is Le Mystere de la passion Jesus Christ; Paris, printed by Antoine Verand, 1490, folio." This is a fine copy on velium with every page richy Luminat ed, and containing a MS. note in French, psporting to be an extract from an old chronicle, entitled, Histoire de Metz veritable," whence it appears that its performance was attended by many foreign lords and ladies whose names are specified, and that there were lanthorns placed in the windows daring the whole time of the plays: but the most curious part of the MS. rote is, that, “in the year 1437, cn the 3rd of July was represented the game or play, de la Passion, N. S. in the plain of Vexmiel, when the park was arranged in a very noble manner, for there were nine ranges of seats in height rising by degrees; all around and behind were great and long seats for the lords and ladies. On the stage was represented the mouth of hell, it is described as having been very well done, for that it opened and shut when the devils required to enter and come out, and had two large eyes of steel." On the 27th of May, 1509, was performed at Romans, in Dauphiny, before the Condelier's church, the Mystery of the Three Dens. In this religious play, which lasted three days, there are emissaries who undertake very long journeys, and must come back before the play can be ended. The scene, besmeared with the blood of the three martyrs, the Dons, is sometimes at Rome, sometimes at Vienra, soon after at Lyons, and at other times in the Alps.

The stage constantly represents hell and paradise; and Europe, Asia, and Africa, are cantoned in three towers. Some metaphysical beings are most curiously personified. Dame Silence, for instance, speaks the prologue; Human Succour, Divine Grace, and Divine Comfort, are the supporters of the heroes and heroines of the piece, while hell exhibits monsters and devils, to frighten the audience. They are constantly abusing Proserpine, who is introduced with all the trappings of Tartarean pomp into this performance, where there are no less than ninety-two dramatis persona, among whom are the Virgin and God the Father.

The story of Le Mystere du Chevalier qui donne a Femme au Diable, played by ten persons in 1505, is of a dissipated knight reduced by his profligacy to distress and wickedness. In his misfortunes the devil appears, and proposes to make him richer than ever, if he will assign his wife, that the devil may have her in seven years. After some discussion the knight consents, his promise is written out, and be signs it with his blood. The seducer then stipulates that his victim shall deny his God; the knight stoutly resists for a time, but in the end the devil gains his point, and emboldened by success ventures to propose that the knight shall deny the Virgin Mary. This, however, being a still greater sin, he refuses to commit it with the utmost indignity and vehemence, and the devil walks off baffled. At the end of seven years, the promise being due, the devil presents it to the knight, who, considering it a debt of honour, prepares to discharge it immediately. He onders his wife to follow him to a certain spot, but on their way she perceives a church, which after obtaining her busband's permission she enters, for the purpose of offering her devotion; while thus engaged, the Virgin Mary recollecting the knight's unsullied allegiance to her, as | sumes the semblance of his wife, and in that character joins him. The moment that they both appear before the devil, he perceives who he has to deal with, and upbraids the unconscious knight for attempting to deceive him. The knight protests his ignorance and astonishment, which the Virgin corroborates, by telling the devil that it was her own plan, for the rescue of two souls from his power, and she orders him to give up the knight's promise. He of course obeys so high an authority, and runs off in great terror.

The Virgin exhorts the knight to better ronduct in future, restores his wife to him, and the piece concludes.

In the reign of Francis I., 1541, the performance of a grand mystery of the Acts of the Apostles, was proclaimed with great solemnity, and acted at Paris for many successive days, before the nobility, clergy, and a large assemblage in the Hotel de Flandres. These plays written in French rhyme, by the brothers Greban, were printed in 2 vols. folio, black letter, under letters patent of the king to William Alabat, a merchant of Bourges. The dramatis personæ, were a multitude of celestial, terrestial, and infernal personages, amounting altogether to four bundred and eighty-five characters. Though the scenes of these plays were chiefly scriptural, yet many were from apocryphal story, and the whole exhibition was a strange mixture of sacred and profane history.

Bayle calls the work entitled the Mystere des Actes Apostres," a very rare and uncommon work." He obtained the loan of a copy from sir Hans Sloane in England, and largely describes the volume. It is, however, more curious than rare. From the public instruments prefixed to the work, and the circumstances related by Bayle, it is evident that there was much importance attached to these plays; but it cannot so well be conceived from perusing them, as from the remarkable ceremonial of the public proclamation for their performance, concerning which he says nothing, probably from the extreme rarity of the tract, he had not seen it. It ordained, that the proclamation of this play should be made by sound of trumpets, with the city officers and serjeants attending, and directed that the performance should take place "in the hall of the Passion, the accustomed place for rehearsals and repetitions of the Mystenes played in the said city of Paris; which place, being well hung with rich tapestry chairs and forms, is for the reception of all persons of honest and virtuous report, and of all qualities therein assisting, as well as a great number of citizens and merchants, and other persons, as well as clergy and laity, in the presence of the commissaries and officers of Justice appointed and deputed to hear the speeches of each personage; and these are to make report, according to the merit of their well doing, as in such case required, concerning which have a gra

cious reception; and from day to day, every day, so to continue to do, until the perfection of the said Mystery." It is not necessary to trace these plays abroad; they continue to be represented there to the present hour. At Berlin, 1804 and 5, the grand sacred comedy of "David," in five acts, with battles and choruses, was performed by the comedians in the Na tional Theatre. Throughout March, April, and May, 1810, the same play was represented at Vienna; and while the Congress was held therein 1815, it was again performed with the utmost possible splendour. The back of the stage, extending into the open air, gradually ascended to a distance sufficient to admit carriages and horses, and to allow the evolutions of at least five hundred Austrian soldiers, infantry and cavalry, who, habited in the characters of Jews and Philistines, carried muskets and carbines, defiled and deployed, charged with the bayonet, let off their fire-arms, and played artillery, to represent the battles described in the Book of Kings. The emperor Alexander of Russia, the king of Prussia, and other monarchs, with their ministers, and the representatives of different courts, at the Congress, attended these plays, which were exhibited at the great theatre (An der Wien) to crowded audiences, at the usual prices of admission.

The first trace of theatrical representation in this country is recorded by Matthew Paris, who wrote about 1240, and relates, that Geoffrey, a learned Norman, master of the school of the abbey of Dunstable, composed the play of St. Catharine, which was acted by his scholars. Geoffrey's performance took place in the year 1110, and he borrowed copes from the sacrist of the neighbouring abbey of St. Albans, to dress his characters. Fitzstephen writing in 1174, says that," London, for its theatrical exhibitions, has religious plays, either the representations of miracles wrought by holy confessors, or the sufferings of martyrs." Besides those of Coventry, there are MSS. of the Chester mysteries, ascribed to Ranulph Higden, compiler of the Polychronicon, and a Benedictine monk of that city, where they were performed at the expense of the in corporated trades, with a thousand days of pardon from the pope, and forty days of pardon from the bishop of Chester to all who attended the representation, which is supposed to have been first had in the vear 1328.

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It is related in the Museum MS., of these Chester plays, that the author, was thrice at Rome before he could obtain leave of the pope to have them in the English tongue." The subjects of these plays being "from the Old and New Testament, seem to supply the reasons for the difficulty in obtaining the pope's consent. Scripture in English had been scrupulously withheld from the people, and the pope probably anticipated, that if they were made acquainted with a portion of it, the remainder would be demanded; while the author of the plays, better acquainted than the pope with the more immediate difficulty of altogether repressing the curiosity that had been excited towards it, conceived, perhaps, that the growing desire might be delayed, by distorted and confusing representations of certain portions. Perhaps such corruptions and absurdities, as are in these plays, seconded by the eloquence of their author, abated the papal fears concerning the appearance of these scriptural interludes in English, and finally obtained the sanction for their performance.

It may be supposed, that the Chester plays, written in an early and dark age, would contain a great mass of apocryphal interpolation, and that the Coventry plays, written much later, would contain less; yet the contrary is the fact. Among the Chester mysteries, the "Descent into Hell" is the only one not founded on scripture, and that even has a colourable authority by implication; while among the Coventry mysteries, which were produced ninety years afterwards, there are, besides the "Descent," no less than eight founded on apocryphal Testament story. This remarkable difference of feature, may probably be accounted for. From the fourth century, when Gregory Nazianzen, and the Apollonarii, turned portions of the bible into tragedies and comedies, the clergy of the continent must have done much in the same way, and with much of apocryphal engraftment; and though "religious plays" prevailed in England, yet scriptural subjects were new to the people, and the Chester mystery-maker of 1328, foun

these so numerous, as to render recourse to the New Testament Apocrypha unnecessary. But the Coventry mysterymaker of 1416, was under circumstances that would suggest powerful motives to the cunning of a monkish mind for apocryphal adoption. He was likely to

conceive that a false glare might obscure the dawnings of the human mind. The rising day of the Reformation had been foretold by the appearance of its "morn ing star," in the person of the intrepic Wycliffe, who exercised the right of pri vate judgment in England, a century and a half before Luther taught it as a principle in Germany. It was a period of fearful foreboding to the church. In 1404 Henry IV. held a parliament at Coventry which, from its desire to compel the clergy to contribute largely to the exigencies of the state, was called the Laymen's Parliament. The country was in imminent danger; an abundant supply of money was immediately necessary; the church property and income were enormous; the parliament knew that this profusion of ecclesiastical wealth could only have been acquired from the industry of the laity; and they represented that the clergy had been of little service to the king, while the laity had served in his wars with their persons, and by contributions for the same purpose had impoverished their estates. The archbishop of Canterbury said, that if the clergy did not fight in person their tenants fought for them, that their contributions had been in proportion to their property, and that the church had offered prayers and masses day and night for God's blessing on the king and the army. The speaker, sir John Cheyne, answered, that the prayers of the church were a very slender supply. To this the archbishop replied, that it might easily be seen what would become of the kingdom when such devout addresses were so slighted. The persistence of the archbishop saved the church at that time from the impending storm; but the priests saw that their exactions and their worship were only tolerated. Wycliffe had then been dead about twenty years. After a life wonderfully preserved from the unsparing cruelty of ecclesiastical power, by the protection of Edward III., his memory was affectionately revered, and, as printing had not been discovered, his writings were scarce, and earnestly sought. The good seed of dissent had germinated, and the appearance of dissenters at intervals, was a specimen of the harvest that had not yet come. Nothing more fearfully alarmed the estab lishment than Wycliffe's translation of the New Testament into English. All arts were used to suppress it, and to enliven the slumbering attachment of the people

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