The Growth of English Drama | Page 4

actual words of
the Vulgate (compare the Magdalene dialogue with John xx. 13-17).
The Mystery is performed in a church. Each point, it will be observed,
imposes a serious limitation.
There was one play, however, which broke loose from most of these
limitations, a play of St. Nicholas, written by one Hilarius early in the
twelfth century. The same author composed a Mystery of Lazarus, and
an elaborate representation of Daniel, which must have made large
demands on the Church's supply of 'stage properties'. But his St.
Nicholas is the only one that interests us here. To begin with, the title
informs us that the subject is not drawn from the Bible. The words,
therefore, are at the discretion of the author. Further, though the
medium is mostly Latin, the native language of the spectators has been
slipped in, to render a few recurrent phrases or refrains. The story is
quite simple, and humorous, and is as follows:
The image of St. Nicholas stands in a Christian church. Into the church
comes a pagan barbarian; he is about to go on a long journey, and
desires to leave his treasure in a safe place. Having heard of the
reputation of St. Nicholas as the patron of property, he lays his riches at
the foot of the statue, and in four Latin verses of song commits them to
the saint's safe-keeping. No sooner is he gone, however, than thieves
steal in silently and remove the booty. Presently the barbarian returns,
discovers his loss, charges the image with faithlessness, and, snatching
up a whip, threatens it with a thrashing if the treasure is not brought

back. He withdraws, presumably, after this, to give St. Nicholas an
opportunity to amend matters. Whereupon one representing the real
celestial St. Nicholas suddenly appears, perhaps from behind a curtain
at the rear of the image, and seeks out the thieves. He threatens them
with exposure and torment unless they restore their plunder; they give
in; and St. Nicholas goes back to his concealment. When the barbarian
returns, his delight is naturally very great at perceiving so complete an
atonement for the saint's initial oversight. Indeed his appreciation is so
genuine that it only needs a few words from the reappearing Saint to
persuade him to accept Christianity.--Monologue and dialogue are
throughout in song. The following is one of the three verses in which
the barbarian proclaims his loss; the last two lines in the vernacular are
the same for all.
Gravis sors et dura! Hic reliqui plura, Sed sub mala cura. Des! quel
dommage! Qui pert la sue chose purque n'enrage.
A play of this sort, dealing with the wonder-working of a Saint, became
known as a Miracle Play, to differentiate it from the Mystery Plays
based on Bible stories.
St. Nicholas would be performed in a church. But there is a probably
contemporaneous Norman Mystery Play, Adam, of unknown
authorship, which shows that the move from the church to the open air
was already being made. This play was performed just outside the
church door, and though the staging remains a matter of conjecture, it
may be reasonably assumed that the church represented Heaven, and
that the three parts of a projecting stage served respectively as Paradise
(Eden), Earth, and Hell (covered in, with side doors). The manuscript
of the play (found at Tours) supplies careful directions for staging and
acting, as follows:
A Paradise is to be made in a raised spot, with curtains and cloths of
silk hung round it at such a height that persons in the Paradise may be
visible from the shoulders upwards. Fragrant flowers and leaves are to
be set round about, and divers trees put therein with hanging fruit, so as
to give the likeness of a most delicate spot. Then must come the
Saviour, clothed in a dalmatic, and Adam and Eve be brought before

him. Adam is to wear a red tunic and Eve a woman's robe of white,
with a white silk cloak; and they are both to stand before the Figure
(God), Adam the nearer with composed countenance, while Eve
appears somewhat more modest. And the Adam must be well trained
when to reply and to be neither too quick nor too slow in his replies.
And not only he, but all the personages must be trained to speak
composedly, and to fit convenient gesture to the matter of their speech.
Nor must they foist in a syllable or clip one of the verse, but must
enounce firmly and repeat what is set down for them in due order.
Whosoever names Paradise is to look and point towards it.[1]
Glancing through the story we find that Adam and Eve are led into
Paradise, God first giving them counsel as to what they shall and shall
not