Everyman and Other Old Religious Plays, with an Introduction | Page 4

Higgenet, a monk of Chester Abbey, wrote the plays. But in the text handed down they are of a much later style of diction, and no doubt later in date than the Towneley or York series.
About the real origin of these plays there can be no question. They began in the churches as liturgy plays, which were given at the Christmas, Easter, and other festivals, illustrating in chief the birth, life, death and passion of Christ. We owe to Professor Skeat the recovery of some fragments of liturgical plays in Latin, which have been reprinted by Professor Manly, in his Specimens of the Pre-Shaksperean Drama. The earliest example there is may be dated as early as 967, an important landmark for us, as it is often assumed that we have no dramatic record of any kind in these islands earlier than the Norman Conquest. Another generation or two of research, such as the pioneer work of Dr. Furnivall and the Early English Text Society has made possible, and we shall distinguish clearly the two lines of growth, French and Norman, English and Saxon, by which the town-pageants and folk-plays of the fourteenth and fifteenth centuries came to a head. Then the grafting of the English pastoral on the church-play, after it had been carried out into the open town or market-place, may become clear. Then, too, one will know how charged with potential dramatic life was the mind of him who wrote that interlude in four lines of the "Three Queens and the Three Dead Men," which contains in it the essence of a thousand moralities.
1st Queen. I am afeard.
2nd Queen. Lo, what I see?
3rd Queen. Me thinketh it be devils three!
1st Dead Body. I was well fair
2nd Dead Body. Such shall thou be.
3rd Dead Body. For Godes love, be-ware by me!
These breathe, not a Norman, but an Anglo-Saxon fantasy, and they speak for themselves. But many tell-tale documents exist to mark the concurrent Norman and English development that went on in the English medi?val literature, and was seen and felt in the church and guild plays, just as it went on in the towns themselves. It finds at last its typical expression in an interlude like the Coventry Nativity-play, reprinted in this volume. Long before the miracle-play was written in the form it finally took, and about the time when William of Rouen, after much trouble with his son Robert culminating at the battle of Gerberoi, was about to return to England, the new opening in the church in this country became one to tempt poor foreign students of some parts and some ambition. Among these was a graduate of the University of Paris, one Geoffrey, known to us now as Geoffrey of St. Albans. He had been offered the post of master of the abbey school at that place, but when he arrived after some delay--due perhaps to his going to see a mystery play at Paris--he found the post filled up. He then made his way to Dunstable, and while there proved his spirit by getting up a miracle-play of "Sancta Katarina." He borrowed copes from St. Albans in which to dress the actors; unluckily a fire took place, and the costumes were burnt. Thereupon he seems to have rendered himself up as it were in pious pledge for their loss, for he became a monk. In 1119 he was elected abbot, and if we give him about twenty-one years in which to rise to that dignity, we can date the St. Katharine play at 1098 or 9. This passage in a life of that time is a clue to the further history of the religious play in England. Geoffrey's attempt to present one at Dunstable, no doubt a reproduction of one he had seen in France, is an instance of the naturalisation process that slowly went on.
The distinct break in the history of the miracle-play that made it from a church into a town pageant occurred about the close of the thirteenth century. From a performance within the church building it went on then into the church-yard, or the adjoining close or street, and so into the town at large. The clerics still kept a hand in its purveyance; but the rise of the town guilds gave it a new character, a new relation to the current life, and a larger equipment. The friendly rivalry between the guilds, and the craftsmen's pride in not being outdone by other crafts, helped to stimulate the town play, till at length the elaborate cycle was formed that began with sunrise on a June morning, and lasted until the torch-bearers were called out at dusk to stand at the foot of the pageant.
The earliest miracle-plays that we can trace in the town cycles date back to the early years of