Chapter XXV: Humanism and Mediaevalism (3)

The London guild would appear, from its peculiar relation to the royal household minstrels, and its claim to jurisdiction throughout the country, to have been modelled upon that of Paris. This claim was evidently not maintained, and in fact at least three other local guilds can be shown to have existed in the sixteenth century. A search, which I have not undertaken, would probably readily discover more.

4. _Canterbury._

Ordinances, dated 1526, of the ‘felowshyp of the craft and mystery of mynstrells’ give the prerogative right to perform in the city to the members of this body, saving the privileges of the city waits, and ‘the King’s mynstrells, the Queane’s, my Lord Prince’s, or any honorable or wurshipfull mann’s mynstrells of thys realme[689].’

5. _Beverley._

An order of the Governors of the city (1555) recites an old custom ‘since Athelstan’ of the choice by minstrels between Trent and Tweed of aldermen of their fraternities during Rogation days, and renews orders for the ‘fraternity of our Lady of the read arke in Beverley.’ The statutes deal with the employment of minstrels in Beverley, and with their ‘castells’ at the Rogation-day procession. A new member must be ‘mynstrell to some man of honour or worship or waite of some towne corporate or other ancient town or else of such honestye and conyng as shalbe thought laudable and pleasant to the hearers.’ It is claimed that such are excluded from the ‘Kyng’s acts where they speake of vacabonds and valiant beggers.’ Quite in the spirit of the London charter of 1469 it is ordered that ‘no myler shepherd or of other occupation or husbandman or husbandman servant’ shall assume the functions of a minstrel outside his own parish[690]. The earliest notice of this guild in the Beverley archives seems to be in 1557[691], but the terms of the order and the existence of pillars put up by the minstrels in fifteenth-century churches in Beverley[692] point to some informal earlier association.

6. _York._

A craft of Mynstrells certainly existed by 1561, in which year they undertook the pageant of Herod at the Corpus Christi plays[693].

G

THOMAS DE CABHAM

[The following extract from a _Penitential_ formerly ascribed
to John of Salisbury, but now to Thomas de Cabham, Bishop
of Salisbury (†1313), is printed by B. Hauréau, _Notices et
Extraits de Manuscrits_, xxiv. 2, 284, from _B. N. MSS. Lat._
3218 and 3529ᵃ, and by F. Guessard and C. Grandmaison, _Huon de
Bordeaux_, vi., from _B. N. Sorbonne MS._ 1552, f. 71. The two
texts differ in several points. According to Gautier, ii. 22,
there are several similar thirteenth-century _Penitentials_,
and it is difficult to say which was the original. The doctrine
laid down about minstrels is often repeated in later treatises.
See e.g. a passage from the fifteenth-century _Le Jardin des
Nobles_ in P. Paris, _Manuscrits français_, ii. 144.]

Tria sunt histrionum genera. Quidam transformant et transfigurant corpora sua per turpes saltus et per turpes gestus, vel denudando se turpiter, vel induendo horribiles larvas, et omnes tales damnabiles sunt, nisi reliquerint officia sua. Sunt etiam alii qui nihil operantur, sed criminose agunt, non habentes certum domicilium, sed sequuntur curias magnatum et dicunt opprobria et ignominias de absentibus ut placeant aliis. Tales etiam damnabiles sunt, quia prohibet Apostolus cum talibus cibum sumere, et dicuntur tales scurrae vagi, quia ad nihil utiles sunt, nisi ad devorandum et maledicendum. Est etiam tertium genus histrionum qui habent instrumenta musica ad delectandum homines, et talium sunt duo genera. Quidam enim frequentant publicas potationes et lascivas congregationes, et cantant ibi diversas cantilenas ut moveant homines ad lasciviam, et tales sunt damnabiles sicut alii. Sunt autem alii, qui dicuntur ioculatores, qui cantant gesta principum et vitam sanctorum, et faciunt solatia hominibus vel in aegritudinibus suis vel in angustiis, et non faciunt innumeras turpitudines sicut faciunt saltatores et saltatrices et alii qui ludunt in imaginibus inhonestis et faciunt videri quasi quaedam fantasmata per incantationes vel alio modo. Si autem non faciunt talia, sed cantant in instrumentis suis gesta principum et alia talia utilia ut faciant solatia hominibus, sicut supradictum est, bene possunt sustineri tales, sicut ait Alexander papa. Cum quidam ioculator quaereret ab eo utrum posset salvare animam suam in officio suo, quaesivit Papa ab eo utrum sciret aliquod aliud opus unde vivere posset: respondit ioculator quod non. Permisit igitur Papa quod ipse viveret de officio suo, dummodo abstineret a praedictis lasciviis et turpitudinibus. Notandum est quod omnes peccant mortaliter qui dant scurris vel leccatoribus vel praedictis histrionibus aliquid de suo. Histrionibus dare nichil aliud est quam perdere.

H

PRINCELY PLEASURES AT KENILWORTH

[From _Robert Laneham’s Letter_ (ed. F. J. Furnivall for
New Shakspere Society (1890); and in Nichols, _Progresses
of Elizabeth_, i. 420) describing the entertainment of
Elizabeth by the Earl of Leicester at Kenilworth, in July,
1575. G. Gascoigne, _The Princelye Pleasures at the Courte at
Kenelworth_ (1576, in Nichols, i. 502), leaves undescribed what
he calls the ‘Coventrie’ (ed. 2, ‘Countrie’) shows.]

I. A SQUIRE MINSTREL.

Mary, syr, I must tell yoo: Az all endeuoour waz too mooue mirth & pastime (az I tolld ye): éeuen so a ridiculoous deuise of an auncient minstrell & hiz song waz prepared to haue been profferd, if méet time & place had béen foound for it. Ons in a woorshipfull company, whear, full appointed, he recoounted his matter in sort az it should haue been vttred, I chaunsed too be: what I noted, heer thus I tel yoo: A parson very méet séemed he for the purpoze, of a xlv. yéers olld, apparelled partly as he woold himself. Hiz cap of: his hed séemly roounded tonster wyze: fayr kemb, _that_ with a spoonge deintly dipt in a littl capons greaz was finely smoothed too make it shine like a Mallard’s wing. Hiz beard smugly shauen: and yet hiz shyrt after the nu trink, with ruffs fayr starched, sléeked, and glistening like a payr of nu shooz: marshalld in good order: wyth a stetting stick, and stoout, that euery ruff stood vp like a wafer: a side gooun of kendall green, after the freshnes of the yéer noow, gathered at the neck with a narro gorget, fastened afore with a white clasp and a keepar close vp to the chin: but easily for heat too vndoo when he list: Séemly begyrt in a red caddiz gyrdl: from that a payr of capped Sheffield kniuez hanging a to side: Out of hiz bozome drawne forth a lappet of his napkin, edged with a blu lace, & marked with a trulooue, a hart, and A. D. for Damian: for he was but a bachelar yet.

Hiz gooun had syde sleeuez dooun to midlegge, slit from the shooulder too the hand, & lined with white cotten. Hiz doobled sleeuez of blak woorsted, vpon them a payr of poynets of towny Chamblet laced a long the wreast wyth blu threeden points, a wealt toward the hand of fustian anapes: a payr of red neatherstocks: a pair of pumps on hiz féet, with a cross cut at the toze for cornz: not nu indéede, yet cleanly blakt with soot, & shining az a shoing horn.

Aboout hiz nek a red rebond sutable too hiz girdl: hiz harp in good grace dependaunt before him: hiz wreast tyed to a gréen lace, and hanging by: vnder the gorget of hiz gooun a fair flagon cheyn, (pewter, for) siluer, as a squier minstrel of Middilsex, that trauaild the cuntrée this soommer seazon vnto fairz & worshipfull mens hoousez: from hiz chein hoong a Schoochion, with mettall & cooller resplendant vpon hiz breast, of the auncient armez of Islington:

[Apparently the minstrel was got ready; but not shown. He was to have recited an Arthurian romance in verse.]

II. THE COVENTRY HOCK-TUESDAY SHOW.

And héertoo folloed az good a sport (me thooght) prezented in an historicall ku, by certain good harted men of Couentrée, my Lordes neighboors thear: who, vnderstanding amoong them _the_ thing that coold not bee hidden from ony, hoow carefull and studious hiz honor waz, that by all pleazaunt recreasions her highnes might best fynd her self wellcom, & bee made gladsum and mery, (the ground-worke indeede, and foundacion, of hiz Lordship’s myrth and gladnesse of vs all), made petition that they moought renu noow their olld storiall sheaw: Of argument, how the Danez whylom héere in a troubloous seazon wear for quietnesse born withall, & suffeard in peas, that anon, by outrage & importabl insolency, abuzing both Ethelred, the king then, and all estates euerie whear beside: at the greuoous complaint & coounsell of Huna, the king’s chieftain in warz, on Saint Brices night, Ann. Dom. 1012 (Az the book sayz) that falleth yéerely on the thirtéenth of Nouember, wear all dispatcht, and the Ream rid. And for becauz the matter mencioneth how valiantly our English women for looue of their cuntrée behaued themseluez: expressed in actionz & rymez after their maner, they thought it moought mooue sum myrth to her Maiestie the rather.

The thing, said they, iz grounded on story, and for pastime woont too bee plaid in oour Citee yéerely: without ill exampl of mannerz, papistry, or ony superstition: and elz did so occupy the heads of a number, that likely inoough woold haue had woorz meditationz: had an auncient beginning, and a long continuauns: tyll noow of late laid dooun, they knu no cauz why, onless it wear by the zeal of certain theyr Preacherz: men very commendabl for their behauiour and learning, & swéet in their sermons, but sumwhat too sour in preaching awey theyr pastime: wisht therefore, that az they shoold continu their good doctrine in pulpet, so, for matters of pollicy & gouernauns of the Citie, they woold permit them to the Mair and Magistratez: and seyed, by my feyth, Master Martyn, they woold make theyr humbl peticion vntoo her highnes, that they might haue theyr playz vp agayn.

But aware, kéep bak, make room noow, heer they cum! And fyrst, ... Captain Cox cam marching on valiantly before, cléen trust, & gartered aboue the knée, all fresh in a veluet cap (master Goldingha_m_ lent it him) floorishing with hiz tonswoord, and another fensmaster with him: thus in the foreward making room for the rest. After the_m_ proudly prickt on formost, the Danish launsknights on horsbak, and then the English: each with their allder poll marcially in their hand. Eeuen at the first entrée the méeting waxt sumwhat warm: that by and by kindled with corage a both sidez, gru from a hot skirmish vnto a blazing battail: first by speare and shield, outragious in their racez az ramz at their rut, with furious encoounterz, that togyther they tumbl too the dust, sumtime hors and man: and after fall too it with sworde & target, good bangz a both sidez: the fight so ceassing; but the battail not so ended: folloed the footmen, both the hostez, ton after toother: first marching in ranks: then warlik turning, the_n_ fro_m_ ranks into squadrons, then in too trianglz; fro_m_ that intoo rings, & so winding oout again: A valiant captain of great prowez, az fiers az a fox assauting a gooz, waz so hardy to giue the first stroke: then get they grisly togyther: that great waz the actiuitée that day too be séen thear a both sidez: ton very eager for purchaz of pray, toother vtterly stoout for redemption of libertie: thus, quarrell enflamed fury a both sidez. Twise the Danes had _th_e better; but at the last conflict, beaten doun, ouercom, and many led captiue for triumph by our English wéemen.

This waz the effect of this sheaw, that, az it waz handled, made mooch matter of good pastime: brought all indéed intoo the great court, een vnder her highnes windo too haue been séen: but (az vnhappy it waz for the bride) that cam thither too soon, (and yet waz it a four a clok). For her highnes beholding in the chamber delectabl dauncing indéed: and héerwith the great throng and vnrulines of the people, waz cauz that this solemnitee of Brideale & dauncing, had not the full muster waz hoped for: and but a littl of the Couentrée plea her highnes also saw: commaunded thearfore on the Tuisday folloing to haue it ful oout: az accordingly it waz prezented, whearat her Maiestie laught well: they wear the iocunder, and so mooch the more becauz her highnes had giuen them too buckes, and fiue marke in mony, to make mery togyther: they prayed for her Maiesty, long, happily to reign, & oft to cum thither, that oft they moought sée héer: & what, reioycing vpon their ampl reward, and what, triumphing vpon the good acceptauns, they vaunted their play waz neuer so dignified, nor euer any players afore so beatified....

Tuisday, according to commandement, cam oour Couentrée men: what their matter waz, of her highnes myrth and good acceptauns, and rewarde vntoo them, and of their reioysing thearat, I sheawd you afore, and so say the less noow.

I

THE INDIAN VILLAGE FEAST

[From Sir Walter Elliot, _On the Characteristics of the
Population of Central India_, in _Journal of the Ethnological
Society of London_, N. S. i. 94 (1869).]

In the north-east corner of the central mountainous region represented on the map, between the Mahanadi and Godavery rivers, is found a tribe which has preserved its normal character remarkably free from change and from external influence. The Konds, or, as they call themselves, the Kuingas, although only discovered within the last thirty-five years, are better known than most of the other barbarous tribes from the fact that for ages they have been in the habit of sacrificing human victims in great numbers to secure the favour of the deities presiding over their dwellings, fields, hills, &c., but especially of the earth-goddess.

The successful efforts employed to abolish this barbarous rite have made the subject familiar to all, and it is remarkable that such knowledge should have failed to attract attention to a practice precisely similar in its objects and in its details, which is observed in every village of Southern India, with this single difference, that a buffalo is substituted for a human victim. My attention was early drawn to this practice, which is called the festival of the village goddess (_Devi_, or _Grama Devati_), the descriptions of which led me to believe it might throw light on the early condition of the servile classes, and resolving to witness its celebrations, I repaired to the village of Serúr, in the Southern Mahratta country, in March, 1829. It would occupy too much time to describe the ceremony in full, which is the less necessary as the details vary in different places; but the general features are always the same.

The temple of the goddess is a mean structure outside the village. The officiating priests are the Parias, who, on this occasion, and on it alone, are exempt from the degrading condition which excludes them from the village, and from contact with the inhabitants. With them are included the Mangs or workers in leather, the Asádis or Dásaris, _paria_ dancing-girls devoted to the service of the temple, the musician in attendance on them called Rániga, who acts also as a sort of jester or buffoon, and a functionary called Pót-raj, who officiates as _pujári_ to a rural god named also Pót-raj, to whom a small altar is erected behind the temple of the village goddess. He is armed with a long whip, which he cracks with great dexterity, and to which also at various parts of the ceremony divine honours are paid.

All the members of the village community take part in the festival with the hereditary district officers, many of them Brahmans. The shepherds or _Dhangars_ of the neighbouring villages are also invited, and they attend with their priests called _Virgars_ or _Irgars_, accompanied by the _dhol_ or big drum peculiar to their caste. But the whole is under the guidance and management of the Parias.

The festival commences always on a Tuesday, the day of rest among the agricultural classes, both for man and beast. The most important and essential ceremonies take place on the second and fifth days. On the former, the sacred buffalo, which had been purchased by the Parias, an animal without a blemish, is thrown down before the goddess, its head struck off by a single blow and placed in front of the shrine with one fore-leg thrust into its mouth. Around are placed vessels containing the different cereals, and hard by a heap of mixed grains, with a drill plough in the centre. The carcase is then cut up into small pieces, and each cultivator receives a portion to bury in his field. The blood and offal are collected into a large basket, over which some pots of the cooked food which had been presented as a meat offering (_naivedya_) had previously been broken, and Pót-raj taking a live kid called the _hari-mariah_, hews it in pieces over the whole. The mess (_cheraga_) is then mixed together, and the basket being placed on the head of a naked Mang, he runs off with it, flinging the contents into the air, and scattering them right and left, as an offering (_bhut-bali_) to the evil spirits, and followed by the other Parias, and the village Paiks, with drawn swords. Sometimes the demons arrest the progress of the party, when more of the mess is thrown about, and fowls and sheep are sacrificed, till the spirits are appeased.

During the whole time of the sacrifice the armed paiks keep vigilant guard, lest any intruder should secrete a morsel of flesh or a drop of blood, which, if carried off successfully, after declaring the purpose, would transfer the merit of the offering to the strangers’ village.

On the return of the party from making the circuit of the village another buffalo, seized by force wherever it can be found (_zulmi-khulga_) is sacrificed by decapitating it in the same manner as the former; but no particular importance is attached to it, and the flesh is distributed to be eaten.

The third and fourth days are devoted to private offerings. On the former all the inhabitants of caste, who had vowed animals to the goddess during the preceding three years for the welfare of their families, or the fertility of their fields, brought the buffaloes or sheep to the _paria pujári_, who struck off their heads. The fourth day was appropriated exclusively to the offerings of the Parias. In this way, some fifty or sixty buffaloes and several hundred sheep were slain, and the heads piled up in two great heaps. Many women on these days walked naked to the temple in fulfilment of vows, but they were covered with leaves and boughs of trees and surrounded by their female relations and friends.

On the fifth and last day (Saturday) the whole community marched in procession, with music, to the temple, and offered a concluding sacrifice at the Pót-raj altar. A lamb was concealed close by. The Pót-raj having found it after a pretended search, struck it simply with his whip, which he then placed upon it, and, making several passes with his hands, rendered it insensible; in fact, mesmerised it. When it became rigid and stiff he lifted it up and carried it about on the palm of his hand, to the amazement of the spectators, and then laid it down on the ground. His hands were then tied behind his back by the _pujári_, and the whole party began to dance round him with noisy shouts, the music and the shepherd’s drum making a deafening noise. Pót-raj joined in the excitement, his eyes began to roll, his long hair fell loose over his shoulders, and he soon came fully under the influence of the _numen_. He was now led up, still bound, to the place where the lamb lay motionless. He rushed at it, seized it with his teeth, tore through the skin, and ate into its throat. When it was quite dead, he was lifted up, a dishful of the meat offering was presented to him; he thrust his bloody face into it, and it was then, with the remains of the lamb, buried beside the altar. Meantime his hands were untied, and he fled the place, and did not appear for three days. The rest of the party now adjourned to the front of the temple, where the heap of grain deposited the first day was divided among the cultivators, to be buried by each one in his field with the bit of flesh. After this a distribution of the piled-up heads was made by the hand of the Rániga. About forty sheep’s heads were given to certain privileged persons, among which two were allotted to the Sircar! For the rest a general scramble took place, paiks, shepherds, Parias, and many boys and men of good caste, were soon rolling in the mass of putrid gore. The heads were flung about in all directions, without regard to rank or caste, the Brahmans coming in for an ample share of the filth. The scramble for the buffalo heads was confined to the Parias. Whoever was fortunate enough to secure one of either kind carried it off and buried it in his field. The proceedings terminated by a procession round the boundaries of the village lands, preceded by the goddess, and the head of the sacred buffalo carried on the head of one of the Mangs. All order and propriety now ceased. Rániga began to abuse the goddess in the foulest terms; he then turned his fury against the government, the head man of the village, and every one who fell in his way. The Parias and Asádis attacked the most respectable and gravest citizens, and laid hold of the Brahmans, Lingayats, and Zamindars without scruple. The dancing-women jumped on their shoulders, the shepherds beat the big drum, with deafening clangor, and universal license reigned.

On reaching a little temple, sacred to the goddess of boundaries (_polimera-amma_), they halted to make some offerings, and bury the sacred head. As soon as it was covered, the uproar began again. Rániga became more foul-mouthed than ever. In vain the head-men, the government officers, and others tried to pacify him by giving him small copper coins. He only broke out with worse imprecations and grosser abuse, till the circuit being completed, all dispersed; the Parias retired to their hamlet outside the town, resuming their humble, servile character, and the village reverted to its wonted peaceful appearance.

Next day (Sunday) the whole population turned out to a great hunting-party.

I found this remarkable institution existing in every part of India where I have been, and I have descriptions of it corresponding in all essential points, from the Dekhan, the Nizam’s country, Mysore, the Carnatic, and the Northern Circars. The details vary in different places, but the main features agree in all, and correspond remarkably with the _Mariah_ sacrifice of the Konds, which also varies considerably on minor points in different places.

J

SWORD-DANCES

I. SWEDEN (_Sixteenth Century_).

[From Olaus Magnus, _Historia de gentibus septentrionalibus_
(1555), Bk. xv. chh. 23, 24.]

Ch. 23, _de chorea gladiatoria vel armifera saltatione_.

Habent septentrionales Gothi et Sueci pro exercenda iuventute alium ludum, quod inter nudos enses et infestos gladios seu frameas sese exerceant saltu, idque quodam gymnastico ritu et disciplina, aetate successiva, a peritis et praesultare sub cantu addiscunt: et ostendunt hunc ludum praecipue tempore carnisprivii, maschararum Italico verbo dicto. Ante etenim tempus eiusdem carnisprivii octo diebus continua saltatione sese adolescentes numerose exercent, elevatis scilicet gladiis sed vagina reclusis, ad triplicem gyrum. Deinde evaginatis itidemque elevatis ensibus, postmodo manuatim extensis, modestius gyrando alterutrius cuspidem capulumque receptantes, sese mutato ordine in modum figurae hexagoni fingendi subiiciunt, quam rosam dicunt: et illico eam gladios retrahendo elevandoque resolvunt ut super uniuscuiusque caput quadrata rosa resultet: et tandem vehementissima gladiorum laterali collisione, celerrime retrograda saltatione determinant ludum, quem tibiis vel cantilenis, aut utrisque simul, primum per graviorem, demum vehementiorem saltum et ultimo impetuosissimum moderantur. Sed haec speculatio sine oculari inspectione vix apprehenditur quam pulchra honestaque sit, dum unius parcissimo praecepto etiam armata multitudo quadam alacritate dirigitur ad certamen: eoque ludo clericis sese exercere et immiscere licet, quia totus deducitur honestissima ratione.

Ch. 24. Alia etiam iuvenum exercitatio est, ut certa lege arcualem choream ducant et reducant, aliis quidam instrumentis, sed eadem ut gladiatorum saltantium disciplina reducta. Arcubus enim seu circulis inclusis [inclusi?], primum modesto cantu heroum gesta referente vel tibiis aut tympanis excitati, gyrando incedunt seque dirigentis, qui rex dicitur, sola voce reducunt, tandem solutis arcubus aliquantulum celerius properantes mutua inclinatione conficiunt, veluti alias per gladios, rosam, ut formam sexangularem efficere videantur. Utque id festivius sonoriusque fiat, tintinnabula seu aereas campanulas genu tenus ligant.

II. SHETLAND (_Eighteenth Century_).

[From Sir Walter Scott’s _Diary_ for August 7, 1814, printed in
Lockhart, _Life of Scott_ (1837), iii. 162; (1878) i. 265.]

At Scalloway my curiosity was gratified by an account of the sword-dance, now almost lost, but still practised in the Island of Papa, belonging to Mr. Scott. There are eight performers, seven of whom represent the Seven Champions of Christendom, who enter one by one with their swords drawn, and are presented to the eighth personage, who is not named. Some rude couplets are spoken (in _English_, not _Norse_), containing a sort of panegyric upon each champion as he is presented. They then dance a sort of cotillion, as the ladies described it, going through a number of evolutions with their swords. One of my three Mʳˢ. Scotts readily promised to procure me the lines, the rhymes, and the form of the dance.... A few years since a party of Papa-men came to dance the sword-dance at Lerwick as a public exhibition with great applause.... In a stall pamphlet, called the history of Buckshaven [Fifeshire], it is said those fishers sprung from Danes, and brought with them their _war-dance_ or _sword-dance_, and a rude wooden cut of it is given.

[A footnote by Lockhart adds:—]

Mr. W. S. Rose informs me that, when he was at school at Winchester, the morris-dancers there used to exhibit a sword-dance resembling that described at Camacho’s wedding in _Don Quixote_; and Mr. Morritt adds that similar dances are even yet performed in the villages about Rokeby [Yorks, N.R.] every Christmas.

[The following account was inserted in a note to Scott’s _The
Pirate_ (1821).]

To the Primate’s account of the sword-dance, I am able to add the words sung or chanted, on occasion of this dance, as it is still performed in Papa Stour, a remote island of Zetland, where alone the custom keeps its ground. It is, it will be observed by antiquaries, a species of play or mystery, in which the Seven Champions of Christendom make their appearance, as in the interlude presented in _All’s Well that ends Well_. This dramatic curiosity was most kindly procured for my use by Dr. Scott of Haslar Hospital [died 1875], son of my friend Mr. Scott of Melbie, Zetland. Dr. Hibbert has, in his _Description of the Zetland Islands_, given an account of the sword-dance, but somewhat less full than the following:—

‘WORDS USED AS A PRELUDE TO THE SWORD-DANCE, A DANISH OR
NORWEGIAN BALLET, COMPOSED SOME CENTURIES AGO, AND PRESERVED IN
PAPA STOUR, ZETLAND.

PERSONÆ DRAMATIS[694].

(_Enter MASTER, in the character of SAINT GEORGE._)

Brave gentles all within this boor[695],
If ye delight in any sport,
Come see me dance upon this floor,
Which to you all shall yield comfort.
Then shall I dance in such a sort,
As possible I may or can;
You, minstrel man, play me a Porte[696],
That I on this floor may prove a man.

[_He bows, and dances in a line._

Now have I danced with heart and hand,
Brave gentles all, as you may see,
For I have been tried in many a land,
As yet the truth can testify;
In England, Scotland, Ireland, France, Italy, and Spain,
Have I been tried with that good sword of steel.

[_Draws, and flourishes._

Yet I deny that ever a man did make me yield;
For in my body there is strength,
As by my manhood may be seen;
And I, with that good sword of length,
Have oftentimes in perils been,
And over champions I was king.
And by the strength of this right hand,
Once on a day I kill’d fifteen,
And left them dead upon the land.
Therefore, brave minstrel, do not care,
But play to me a Porte most light,
That I no longer do forbear,
But dance in all these gentles’ sight.
Although my strength makes you abased,
Brave gentles all, be not afraid,
For here are six champions, with me, staid,
All by my manhood I have raised.

[_He dances._

Since I have danced, I think it best
To call my brethren in your sight,
That I may have a little rest,
And they may dance with all their might;
With heart and hand as they are knights,
And shake their swords of steel so bright,
And show their main strength on this floor,
For we shall have another bout
Before we pass out of this boor.
Therefore, brave minstrel, do not care
To play to me a Porte most light,
That I no longer do forbear,
But dance in all these gentles’ sight.

[_He dances, and then introduces his knights as under._

Stout James of Spain, both tried and stour[697],
Thine acts are known full well indeed;
And champion Dennis, a French knight,
Who stout and bold is to be seen;
And David, a Welshman born,
Who is come of noble blood;
And Patrick also, who blew the horn,
An Irish knight amongst the wood.
Of Italy, brave Anthony the good,
And Andrew of Scotland King;
Saint George of England, brave indeed,
Who to the Jews wrought muckle tinte[698].
Away with this!—Let us come to sport,
Since that ye have a mind to war.
Since that ye have this bargain sought,
Come let us fight and do not fear.
Therefore, brave minstrel, do not care
To play to me a Porte most light,
That I no longer do forbear,
But dance in all these gentles’ sight.

[_He dances, and advances to JAMES of Spain._

Stout James of Spain, both tried and stour,
Thine acts are known full well indeed,
Present thyself within our sight,
Without either fear or dread.
Count not for favour or for feid,
Since of thy acts thou hast been sure;
Brave James of Spain, I will thee lead,
To prove thy manhood on this floor.

[_JAMES dances._

Brave champion Dennis, a French knight,
Who stout and bold is to be seen,
Present thyself here in our sight,
Thou brave French knight,
Who bold hast been;
Since thou such valiant acts hast done,
Come let us see some of them now
With courtesy, thou brave French knight,
Draw out thy sword of noble hue.

[_DENNIS dances, while the others retire to a side._

Brave David a bow must string, and with awe
Set up a wand upon a stand,
And that brave David will cleave in twa[699].

[_DAVID dances solus._

Here is, I think, an Irish knight,
Who does not fear, or does not fright,
To prove thyself a valiant man,
As thou hast done full often bright;
Brave Patrick, dance, if that thou can.

[_He dances._

Thou stout Italian, come thou here;
Thy name is Anthony, most stout;
Draw out thy sword that is most clear,
And do thou fight without any doubt;
Thy leg thou shake, thy neck thou lout[700],
And show some courtesy on this floor,
For we shall have another bout,
Before we pass out of this boor.
Thou kindly Scotsman, come thou here;
Thy name is Andrew of Fair Scotland;
Draw out thy sword that is most clear,
Fight for thy king with thy right hand;
And aye as long as thou canst stand,
Fight for thy king with all thy heart;
And then, for to confirm his band,
Make all his enemies for to smart.

[_He dances.—Music begins._’

‘FIGUIR[701].

‘The six stand in rank with their swords reclining on their shoulders.
The Master (Saint George) dances, and then strikes the sword of James
of Spain, who follows George, then dances, strikes the sword of
Dennis, who follows behind James. In like manner the rest—the music
playing—swords as before. After the six are brought out of rank, they
and the Master form a circle, and hold the swords point and hilt. This
circle is danced round twice. The whole, headed by the Master, pass
under the swords held in a vaulted manner. They jump over the swords.
This naturally places the swords across, which they disentangle by
passing under their right sword. They take up the seven swords, and
form a circle, in which they dance round.

‘The Master runs under the sword opposite, which he jumps over
backwards. The others do the same. He then passes under the right-hand
sword, which the others follow, in which position they dance, until
commanded by the Master, when they form into a circle, and dance round
as before. They then jump over the right-hand sword, by which means
their backs are to the circle, and their hands across their backs. They
dance round in that form until the Master calls “Loose,” when they pass
under the right sword, and are in a perfect circle.

‘The Master lays down his sword, and lays hold of the point of James’s
sword. He then turns himself, James, and the others, into a clew. When
so formed, he passes under out of the midst of the circle; the others
follow; they vault as before. After several other evolutions, they
throw themselves into a circle, with their arms across the breast.
They afterwards form such figures as to form a shield of their swords,
and the shield is so compact that the Master and his knights dance
alternately with this shield upon their heads. It is then laid down
upon the floor. Each knight lays hold of their former points and hilts
with their hands across, which disentangle by figuirs directly contrary
to those that formed the shield. This finishes the ballet.

‘EPILOGUE.

‘Mars does rule, he bends his brows,
He makes us all agast[702];
After the few hours that we stay here,
Venus will rule at last.
Farewell, farewell, brave gentles all,
That herein do remain,
I wish you health and happiness
Till we return again.

[_Exeunt._’

The manuscript from which the above was copied was transcribed from _a very old one_, by Mr. William Henderson, jun., of Papa Stour, in Zetland. Mr. Henderson’s copy is not dated, but bears his own signature, and, from various circumstances, it is known to have been written about the year 1788.

K

THE LUTTERWORTH ST. GEORGE PLAY

[From W. Kelly, _Notices Illustrative of the Drama, &c., ...
from ... Manuscripts of the Borough of Leicester_ (1865), 53.
The version is that ‘performed in some of the villages near
Lutterworth, at Christmas 1863.’]

THE CHRISTMAS MUMMERS’ PLAY.

DRAMATIS PERSONÆ.

1. CAPTAIN SLASHER, _in military costume, with sword and pistol_.
2. King of England, _in robes, wearing the crown_.
3. PRINCE GEORGE, _King’s Son, in robes, and sword by his side_.
4. Turkish Champion, _in military attire, with sword and pistol_.
5. A Noble Doctor.
6. Beelzebub.
7. A Clown.

_Enter Captain Slasher._ I beg your pardon for being so bold,
I enter your house, the weather’s so cold,
Room, a room! brave gallants, give us room to sport;
For in this house we do resort,—Resort,
resort, for many a day;
Step in, the King of England,
And boldly clear the way.

_Enter King of England._ I am the King of England, that boldly does
appear;
I come to seek my only son,—my only son is here.

_Enter Prince George._ I am Prince George, a worthy knight;
I’ll spend my blood for England’s right.
England’s right I will maintain;
I’ll fight for old England once again.

_Enter Turkish Knight._ I am the Turkish Champion;
From Turkey’s land I come.
I come to fight the King of England
And all his noble men.

_Captain Slasher._ In comes Captain Slasher,
Captain Slasher is my name;
With sword and pistol by my side,
I hope to win the game.

_King of England._ I am the King of England,
As you may plainly see,
These are my soldiers standing by me;
They stand by me your life to end,
On them doth my life depend.

_Prince George._ I am Prince George, the Champion bold,
And with my sword I won three crowns of gold;
I slew the fiery dragon and brought him to the slaughter,
And won the King of Egypt’s only daughter.

_Turkish Champion._ As I was going by St. Francis’ School,
I heard a lady cry ‘A fool, a fool!’
‘A fool,’ was every word,
‘That man’s a fool,
Who wears a wooden sword.’

_Prince George._ A wooden sword, you dirty dog!
My sword is made of the best of metal free.
If you would like to taste of it,
I’ll give it unto thee.
Stand off, stand off, you dirty dog!
Or by my sword you’ll die.
I’ll cut you down the middle,
And make your blood to fly.

[_They fight; Prince George falls, mortally wounded._

_Enter King of England._ Oh, horrible! terrible! what hast thou done?
Thou hast ruin’d me, ruin’d me,
By killing of my only son!
Oh, is there ever a noble doctor to be found,
To cure this English champion
Of his deep and deadly wound?

_Enter Noble Doctor._ Oh yes, there is a noble doctor to be found,
To cure this English champion
Of his deep and deadly wound.

_King of England._ And pray what is your practice?

_Noble Doctor._ I boast not of my practice, neither do I study in the
practice of physic.

_King of England._ What can you cure?

_Noble Doctor._ All sorts of diseases,
Whatever you pleases:
I can cure the itch, the pitch,
The phthisic, the palsy and the gout;
And if the devil’s in the man,
I can fetch him out.
My wisdom lies in my wig,
I torture not my patients with excations,
Such as pills, boluses, solutions, and embrocations;
But by the word of command
I can make this mighty prince to stand.

_King._ What is your fee?

_Doctor._ Ten pounds is true.

_King._ Proceed, Noble Doctor;
You shall have your due.

_Doctor._ Arise, arise! most noble prince, arise,
And no more dormant lay;
And with thy sword
Make all thy foes obey.

[_The Prince arises._

_Prince George._ My head is made of iron,
My body is made of steel,
My legs are made of crooked bones
To force you all to yield.

_Enter Beelzebub._ In comes I, old Beelzebub,
Over my shoulder I carry my club,
And in my hand a frying-pan,
Pleased to get all the money I can.

_Enter Clown._ In come I, who’s never been yet,
With my great head and little wit:
My head is great, my wit is small,
I’ll do my best to please you all.

_Song_ (_all join_). And now we are done and must be gone,
No longer will we stay here;
But if you please, before we go,
We’ll taste your Christmas beer.

[_Exeunt omnes._

L

THE PROSE OF THE ASS

[The text is taken from the following sources:—

i. _Beauvais, thirteenth century._—(_a_) [Duc.]—Ducange,
_Glossarium_ (ed. 1733-6), s.v. _Festum_, from a lost MS.;
copied incorrectly by Gasté, 23, and apparently also by
Clément, 158: (_b_) [B¹]—_Brit. Mus. Egerton MS._ 2615, f. 1,
with music for singing in unison: (_c_) [B²]—Same _MS._ f. 43,
with music harmonized in three parts; partly facsimiled in
_Annales Archéologiques_ (1856), xvi. 259, 300.

ii. _Sens, thirteenth century._—[S]—_MS. Senonense_, 46ᵃ, as
printed by G. M. Dreves, _Analecta Hymnica_, xx. 217. The text
has also been given from the MS. by F. Bourquelot, in _Bull. de
la Soc. Arch. de Sens_ (1858), vi. 79, and others. The version
of Clément, 126 is probably, like the facsimile given by him in
_Ann. Arch._ vii. 26, based on one ‘calqué’ from the MS. by a
M. Amé, and, where it differs from that of Dreves, is the less
trustworthy. Dreves, xx. 257 (cf. _infra_) and Millin, _Monum.
Ant. Inédits_, ii. 348, also give the music of the opening
lines. Modern settings are provided by B. De la Borde, _Essai
sur la Musique_ (1780), and Clément, in _Ann. Arch._ vii. 26,
and _Chantes de la Sainte Chapelle_. An old French translation
of the text is printed in Leber, ix. 368.

On these Beauvais and Sens MSS. cf. ch. xiii.

iii. _Bourges._—[Bo.]—The first verse with the music and
variants in the later verses are given by A. Gachet d’Artigny,
_Nouveaux Mémoires_ (1756), vii. 77, from a copy of a book
given to Bourges cathedral by a canon named Jean Pastoris. Part
of the Bourges music is also given by Millin, _loc. cit._

I print the fullest version from Ducange, italicizing the
lines not found elsewhere, and giving all variants, except of
spelling, for the rest.

Outside Beauvais, Sens, and Bourges the only localized allusion
to the prose that I have found is the Autun order of 1411
(vol. i. p. 312) ‘nec dicatur cantilena quae dici solebat
super dictum asinum.’ It is not in the Puy _officium_ for the
Circumcision, which, though in a MS. of 1553, represents a
ceremony as old as 1327 (U. Chevalier, _Prosolarium Ecclesiae
Aniciensis_, 1894). The _officium_ is full of _conductus_ and
_farsumina_, and the _clericuli_ at second Vespers _tripudiant
firmiter_. The _sanctum Praepucium_ was a relic at Puy.

The following passage is from Theoph. Raynaudus, _Iudicium de
puerorum symphoniacorum processione in festo SS. Innocentium_
(_Opera Omnia_, 1665, xv. 209): ‘Legi prosam quandam _de asino_
e Metropolitanae cuiusdam Ecclesiae rituali exscriptam; quae
super sacrum concinebatur in die S. Stephani, et dicebatur
_prosa fatuorum_, qua nihil insulsius aut asino convenientius.
Similis prosa _de bove_, quae canebatur in die S. Ioannis,
intercidisse dicitur, haud magno sane dispendio. Itaque hae
prosae erant particulae festi fatuorum, occoepti a die S.
Stephani.’ I have never come across the ‘Prose of the Ox,’ or
any notice of it which appears to be independent of Raynaud’s.]

I.

Orientis partibus
Adventavit Asinus,
Pulcher et fortissimus,
Sarcinis aptissimus. 4
_Hez, Sire Asnes, car chantez,_
_Belle bouche rechignez,_
_Vous aurez du foin assez_
_Et de l’avoine a plantez._ 8

II.

_Lentus erat pedibus,_
_Nisi foret baculus,_
_Et eum in clunibus_
_Pungeret aculeus._ 12
_Hez, Sire Asnes, etc._

III.

Hic in collibus Sichen
Iam nutritus sub Ruben,
Transiit per Iordanem,
Saliit in Bethleem. 20
_Hez, Sire Asnes, etc._

IV.

_Ecce magnis auribus_
_Subiugalis filius_
_Asinus egregius_
_Asinorum dominus._ 28
_Hez, Sire Asnes, etc._

V.

Saltu vincit hinnulos,
Dammas et capreolos,
Super dromedarios
Velox Madianeos. 36
_Hez, Sire Asnes, etc._

VI.

Aurum de Arabia,
Thus et myrrham de Saba
Tulit in Ecclesia
Virtus Asinaria. 44
_Hez, Sire Asnes, etc._

VII.

Dum trahit vehicula,
Multa cum sarcinula,
Illius mandibula
Dura terit pabula. 52
_Hez, Sire Asnes, etc._

VIII.

Cum aristis hordeum
Comedit et carduum:
Triticum e palea
Segregat in area. 60
_Hez, Sire Asnes, etc._

IX.

Amen dicas, Asine,
Iam satur de gramine,
Amen, Amen, itera,
Aspernare vetera. 68
_Hez va, hez va! hez va, hez!_
_Bialx Sire Asnes, car allez:_
_Belle bouche, car chantez._ 71

B¹ has heading _Conductus asi<ni ubi> adducitur_; S, _Conductus ad tabulam_.

5-8 B¹, ² _Hez, hez, sire Asnes, hez_; S. _Hez, Sir asne, hez_; Bo. _He, he, he, Sire Ane. He._

18. B¹, ²; S, _Enulritus_.

21-4. B¹ _Hez, hez_ (and so in all verses but last); B² _Hez_ (and so in all verses); S, _Hez, Sir asne, hez_ (and so in all verses).

vi. B¹, ² omit; Bo. places after viii.

59. Duc. _a palea_.

65. Duc. adds (_hic genuflectebatur_).

66. Bo. _Iam satis de carmine_.

69-71. B² _Hez_; Clément,

_Hez va! hez va! hez va! hez!_
_Bialx, sir asnes, car chantez,_
_Vous aurez du foin assez_
_Et de l’avoine a plantez._

I append the air of the Sens prose, as given by Dreves, _Analecta Hymnica_, xx. 257.

[Music:

Orientis partibus Adventavit Asinus,
Pulcher et fortissimus, Sarcinis aptissimus.
Hez, Sir Asne, hez.]

M

THE BOY BISHOP

I. THE SARUM OFFICE.

[From C. Wordsworth, _Ceremonies and Processions of the
Cathedral Church of Salisbury_ (1901), 52, which follows the
practically identical texts of the printed _Processionals_
of 1508 (ed. Henderson, 1882, 17) and 1555 and the printed
_Breviary_ (ed. Procter-Wordsworth, I. ccxxix). Mr. Wordsworth
also found the office in two MS. breviaries (_Sarum Chapter
MS._ 152 and _Peterhouse, Cambridge, MS._ 270). In the MS.
(†1445) processional from Salisbury Cathedral (_Chapter MS._
148), on which his book is mainly based, there is a _lacuna_,
probably due to intentional mutilation, where the office
should come. I find no allusion to the Boy Bishop in the
printed _Sarum Missal_ (ed. Dickinson, 67), or in the _Sarum
Consuetudinary_, _Custumary_, or _Ordinal_ (Frere, _Use of
Sarum_).]

⸿ _In die sancti Johannis._

[De Episcopo Puerorum.]

_Ad uesperas, post memoriam de S. Stephano eat processio
Puerorum ad altare Innocencium, uel Sancte Trinitatis et Omnium
Sanctorum quod dicitur Salue, in capis sericis, cum cereis
illuminatis et ardentibus in manibus, cantando, Episcopo
Puerorum pontificalibus induto (executore officij, siue
Episcopo presente) incipiente hoc responsorium._

_Solus Episcopus Innocencium, si assit, Christum Puerum, uerum et eternum, Pontificem designans, incipiat_:

_R._ Centum quadraginta quattuor millia qui empti sunt de terra: hij sunt qui cum mulieribus non sunt coinquinati, uirgines enim permanserunt. Ideo regnant cum Deo et Agno, et Agnus Dei cum illis.

_Tres pueri dicant hunc uersum._

_V._ Hij empti sunt ex omnibus, primicie Deo et Agno, et in ore illorum non est inventum mendacium. Ideo.

_Omnes pueri dicant cantando simul hanc prosam_

Sedentem in superne.

_Chorus post vnumquemque uersum respondeat cantum prose super vltimam literam E._

_V._ Sedentem in superne maiestatis arce-e.

_V._ Adorant humillime proclamantes ad te-e.

_V._ Sancte · Sancte · Sancte · Sabaoth rex-e.

_V._ Plena sunt omnia glorie tue-e.

_V._ Cum illis vndeuiginti quinque-e.

_V._ Atque cum innocentissimo grege-e.

_V._ Qui sunt sine vlla labe-e.

_V._ Dicentes excelsa uoce-e.

_V._ Laus Tibi, Domine-e.

Rex eterne glorie-e.

_Chorus respondeat_ Ideo regnant.

_Ad hanc processionem non dicatur_ Gloria Patri _sed dum prosa canitur tunc Episcopus Puerorum thurificet altare: deinde ymaginem Sancte Trinitatis_.

_Et postea dicat Sacerdos, modesta uoce, hunc uersum._

_V._ Letamini in Domino, et exvltate iusti.

_R._ Et gloriamini omnes recti corde.

_Deinde dicat Episcopus Puerorum, sine_ Dominus uobiscum, _sed cum_ Oremus, _oracionem_.

Deus, cuius hodierna die preconium innocentes martires non loquendo sed moriendo confessi sunt: omnia in nobis uitiorum mala mortifica, vt fidem tuam, quam lingua nostra loquitur, eciam moribus uita fateatur. Qui cum Deo Patre.

_In redeundo precentor puerorum incipiat responsorium de S. Maria, uel aliquam antiphonam de eadem._

_R._ Felix namque es, sacra uirgo Maria, et omni laude dignissima. Quia ex te ortus est Sol iusticie, Christus Deus noster.

_Et, si necesse fuerit, dicatur uersus_:

_V._ Ora pro populo, interueni pro clero, intercede pro deuoto femineo sexu: senciant omnes tuum leuamen, quicumque celebrant tuam solempnitatem. Quia ex te Gloria · Quia ·

_Et sic processio chorum intret, per ostium occidentale, vt supra. Et omnes pueri, ex vtraque parte chori, in superiori gradu se recipiant; et ab hac hora vsque post processionem diei proximi succedentis nullus clericorum solet gradum superiorem ascendere, cuiuscumque condicionis fuerit._

_Ad istam processionem pro disposicione puerorum scribuntur canonici, ad ministrandum eisdem, maiores ad thuribulandum, et ad librum deferendum, minores ad candelabra deferenda._

_Responsorio finito, cum suo uersu, Episcopus Puerorum in sede sua dicat uersum modesta uoce_:

_V._ Speciosus forma pre filijs hominum:

_R._ Diffusa est gracia in labijs tuis.

_Oracio._ Deus qui salutis eterne beate Marie uirginitate fecunda humano generi premia prestitisti; tribue, quesumus, vt ipsam pro nobis intercedere senciamus, per quam meruimus Auctorem uite suscipere, Dominum nostrum Jesum Christum Filium tuum. _Que sic terminetur_: Qui Tecum uiuit et regnat in vnitate Spiritus Sancti Deus. Per omnia secula seculorum. Amen.

Pax uobis.

_R._ Et cum spiritu tuo.

_Sequatur_ Benedicamus Domino, _a duobus uicarijs, uel a tribus, extra regulam_.

_Tunc Episcopus Puerorum intret stallum suum, et in sede sua, benedicat populum._

_Et interim cruciferarius accipiat baculum episcopi, conuersus ad Episcopum, et cum uenerit ad istum versum_ Cum mansuetudine _conuertat se ad populum et incipiat hanc antiphonam sequentem_ (_que non dicatur Episcopo absente_): _et cantet totam antiphonam vsque ad finem_.

_Ant._ Princeps ecclesie, pastor ouilis, cunctam plebem tuam benedicere digneris. _Hic conuertat se ad populum sic dicendo_:

Cum mansuetudine et caritate, humilitate uos ad benediccionem.

_Chorus respondeat_: Deo gracias.

_Deinde retradat baculum Episcopo, et tunc Episcopus Puerorum, primo signando se in fronte, dicat, hoc modo incipiens_:

Adiutorium nostrum in nomine Domini:

_Chorus respondeat sic_: Qui fecit celum et terram.

_Item Episcopus, signando se in pectore, dicat sic_:

Sit nomen Dei benedictum:

_Chorus respondeat_: Ex hoc nunc, et vsque in seculum.

_Deinde Episcopus Puerorum, conuersus ad clerum, eleuet brachium suum, et dicat hanc benediccionem_:

Crucis signo uos consigno:

_Hic conuertat se ad populum, sic dicendo_:

Nostra sit tuicio.

_Deinde conuertat se ad altare, dicens_:

Qui nos emit et redemit,

_Postea ad seipsum reuersus ponat manum suam super pectus suum dicendo_:

Sue carnis precio,

_Chorus respondeat, vt sequitur_, Amen.

_His itaque peractis incipiat Episcopus Puerorum COMPLETORIUM de die, more solito, post_ Pater Noster _et_ Aue Maria.

_Et post Completorium dicat Episcopus Puerorum ad chorum conuersus sub tono supradicto._

Adiutorium nostrum in nomine Domini,

_Chorus respondeat_: Qui fecit celum et terram.

_Episcopus Puerorum dicat_:

Sit nomen Domini benedictum:

_Chorus._ Ex hoc nunc, et vsque in seculum.

_Deinde dicat Episcopus_:

Benedicat nos omnipotens Deus, Pater, et Filius, et Spiritus Sanctus.

_Chorus_: Amen.

⸿ _In die SS. Innocencium_

si in DOMINICA euenerit:

_Eodem modo processio fiat vt in die S. Stephani, excepto quod hac die tres pueri prosam in eundo dicant, in medio procedentes: que in ipsa stacione ante crucem ab eisdem terminetur._

_In eundo, R._ Centum quadraginta.

_V._ Hij empti.

_Prosa._ Sedentem in superne.

_Sequatur._ Gloria Patri, et Filio.

Ideo.

_In introitu chori, de Natiuitate, vt supra._

AD MATUTINAS _in Die Innocencium_:

_In tercio Nocturno, post lecciones et cetera, ad gradum altaris omnes pueri incipiant nonum Responsorium._

_R._ Centum quadraginta, _ut supra_.

_Omnes simul dicant uersum_:

_V._ Hij empti. Gloria Patri. Ideo.

_V._ Justi autem.

IN LAUDIBUS, _post Ps._ Laudate, _Episcopus Puerorum dicat modesta uoce, quasi legendo, Capitulum, loco nec habitu mutato, quia per totum diem capa serica vtitur_ (Apoc. xix.)

_Cap._ Vidi supra montem Syon Agnum stantem, &c.

_Ympnus._ Rex gloriose martirum. _De Communi plurimorum martirorum_ (Brev. Sarum, ii. 406).

_V._ Mirabilis Deus.

_Ant._ Hij sunt qui cum mulieribus, _et cetera, quam precentor dabit Episcopo_.

_Ps._ Benedictus.

_Oracio._ Deus, cuius hodierna, &c. Qui tecum uiuit.

_Tunc omnes pueri dicant, loco_ Benedicamus, Verbum Patris (Brev. Sarum, i. p. cxc).

_Chorus respondeat._

_Consequenter dicat Episcopus Puerorum benediccionem super populum eodem modo quo ad uesperas precedentes._

_Post tres Memorias (scilicet de Natiuitate Domini, de S. Stephano, et de S. Johanne) dicat Episcopus Puerorum benediccionem super populum, sicut et post Completorium supra dictum est._

_Deinde tres de secunda forma dicant_ Benedicamus Domino, _more solito_.

AD VESPERAS. _Episcopus Puerorum incipiat._

Deus in adiutorium meum intende.

_Ant._ Tecum principium.

_Ps._ Dixit Dominus (_cix_).

_Capitulum._ Vidi supra montem.

_R._ Centum quadraginta.

_Hoc Responsorium ab vno solo Puero, scilicet Cancellario, incipiatur ad gradum chori, in capa serica, et suus versus ab omnibus pueris cantetur in superpelliceis in stacione puerorum, cum prosa, si placet, et eciam cum_ Gloria Patri.

_V._ Hij empti sunt.

_Ympnus._ Rex gloriose martirum. _De Communi._

_V._ Mirabilis Deus.

_Episcopus Puerorum incipiat antiphonam_:

_Ant._ Ecce vidi Agnum stantem.

_Ps._ Magnificat.

_Oracio._ Deus, cuius hodierna.

_Dicta oracione, omnes pueri loco_ Benedicamus _dicant_ Verbum Patris.

_Ant. ad gradum altaris._

_Et chorus totum respondeant._

⸿ IN DIE S. THOMAE ARCHIEPISCOPI MARTYRIS.

_Ad Vesperas, post memoriam de S. Johanne, accipiat cruciferarius baculum Episcopi Puerorum, et cantet antiphonam_ Princeps ecclesie, _sicut ad primas uesperas_.

_Similiter Episcopus Puerorum benedicat populum supradicto modo._

_Et sic compleatur seruicium (officium Puerorum) huius diei._

II. THE YORK COMPUTUS.

[I have expanded the following document from the copy printed
with all the contractions by Dr. E. F. Rimbault in _The Camden
Miscellany_ (C.S.), vii (1875), 31. The original roll was in
the possession of the late Canon Raine.]

Compotus Nicholay de Newerk custodis bonorum Johannis de Cave Episcopi Innocencium Anno domini etc. nonagesimo sexto.

[Sidenote: _Clausura._]

In primis receptum de xij denariis receptis in oblacione die Nativitatis domini. Et de xxiiij solidis j denario receptis in oblacione die Innocentium et j cochleare argenteum ponderis xx_d._ et j annulum argenteum cum bursa cerica eodem die ad missam. Et de xx_d._ rec. de Magistro Willelmo de Kexby precentore. Et de ij_s._ rec. de Magistro Johanne de Schirburne cancellario. Et de vj_s._ viij_d._ rec. de Magistro Johanne de Newton thesaurario ad Novam. Et de vj_s._ viij_d._ rec. de Magistro Thoma Dalby archidiacono Richmunde. Et de vj_s._ viij_d._ rec. de Magistro Nicholao de Feriby. Et de vj_s._ viij_d._ rec. de Magistro Thoma de Wallworthe.

_Summa_ lv_s._ v_d._

[Sidenote: _Villa._]

Item rec. de vj_s._ viij_d._ rec. de Domino Abbate Monasterii beatae Mariae virginis extra Muros Eboraci. Et de iij_s._ iiij_d._ rec. de Magistro Willelmo de Feriby Archidiacono Estridinge.

_Summa_ x_s._

[Sidenote: _Patria._]