Chapter XXV: Humanism and Mediaevalism (5)

Text size

There was in the Abbye Church of Duresme verye solemne service uppon Easter Day, betweene three and four of the clocke in the morninge, in honour of the RESURRECTION, where two of the oldest Monkes of the Quire came to the Sepulchre, being sett upp upon Good Friday, after the Passion, all covered with red velvett and embrodered with gold, and then did sence it, either Monke with a pair of silver sencers sittinge on theire knees before the Sepulchre. Then they both rising came to the Sepulchre, out of which, with great devotion and reverence, they tooke a marvelous beautifull IMAGE of our SAVIOUR, representing the resurrection, with a crosse in his hand, in the breast wherof was enclosed in bright christall the holy Sacrament of the Altar, throughe the which christall the Blessed Host was conspicuous to the behoulders. Then, after the elevation of the said picture, carryed by the said two Monkes uppon a faire velvett cushion, all embrodered, singinge the anthem of _Christus resurgens_, they brought it to the High Altar, settinge that on the midst therof, whereon it stood, the two Monkes kneelinge on theire knees before the Altar, and senceing it all the time that the rest of the whole quire was in singinge the foresaid anthem of _Christus resurgens_. The which anthem beinge ended, the two Monkes tooke up the cushions and the picture from the Altar, supportinge it betwixt them, proceeding, in procession, from the High Altar to the south Quire dore, where there was four antient Gentlemen, belonginge to the Prior, appointed to attend theire cominge, holdinge upp a most rich CANNOPYE of purple velvett, tached round about with redd silke and gold fringe; and at everye corner did stand one of theise ancient Gentlemen, to beare it over the said image, with the Holy Sacrament, carried by two Monkes round about the church, the whole quire waitinge uppon it with goodly torches and great store of other lights, all singinge, rejoyceinge, and praising God most devoutly, till they came to the High Altar againe, whereon they did place the said image there to remaine untill the Ascension day.

p. 26. THE SOUTH ALLEY OF THE LANTERN.

Over the [second of the iij Alters in that plage] was a merveylous lyvelye and bewtiful Immage of the picture of our Ladie, so called the LADY OF BOULTONE, which picture was maide to open with gymmers from her breaste downdward. And within the said immage was wrowghte and pictured the immage of our Saviour, merveylouse fynlie gilted, houldinge uppe his handes, and houlding betwixt his handes a fair large CRUCIFIX OF CHRIST, all of gold, the which crucifix was to be taiken fourthe every Good Fridaie, and every man did crepe unto it that was in that church at that daye. And ther after yt was houng upe againe within the said immage.

THE SARUM SEPULCHRUM

[I give the various directions and rubrics referring to the
sepulchre from the _Consuetudinary_ (†1210), _Ordinal_ (†1270),
_Customary_ (first half of fourteenth century), _Processional_
(1508, &c.), _Missal_ (1526, &c.), and _Breviary_ (1531). The
printed sixteenth-century rubrics practically reproduce the
later _Ordinal_ of the middle of the fourteenth century.]

_The Depositio._

[From the _Processional_, with which the _Missal_ practically
agrees.]

Finitis vesperis, exuat sacerdos casulam, et sumens secum unum de praelatis in superpelliceis discalceati reponant crucem cum corpore dominico [scilicet in pixide, _Missal_] in sepulcrum incipiens ipse solus hoc responsorium _Aestimatus sum_, genuflectendo cum socio suo, quo incepto statim surgat. Similiter fiat in responsorio _Sepullo Domino_. Chorus totum responsorium prosequatur cum suo versu, genuflectendo per totum tempus usque ad finem servitii. Responsoria ut sic: _Aestimatus sum_. Chorus prosequatur _cum descendentibus in lacum_.... Dum praedictum responsorium canitur cum suo versu, praedicti duo sacerdotes thurificent sepulcrum, quo facto et clauso ostio, incipiet idem sacerdos responsorium _Sepulto Domino_.... Item praedicti duo sacerdotes dicant istas tres antiphonas sequentes genuflectendo continue: _In pace.... In pace factus est.... Caro mea...._ His finitis, et dictis prius orationibus ad placitum secrete ab omnibus cum genuflexione, omnibus aliis ad libitum recedentibus, ordine [non, _Missal_] servato, reinduat sacerdos casulam, et eodem modo quo accessit in principio servitii, cum diacono et subdiacono et ceteris ministris abscedat.

_The Sepulchre Light._

[From the _Consuetudinary_.]

In die parasceues post repositum corpus domini in sepulcro, duo cerei dimidie libre ad minus in thesauraria tota die ante sepulcrum ardebunt. In nocte sequente et exinde usque ad processionem quae fit in die pasche ante matutinas, unus illorum tantum, magnum eciam cereum paschalem.

[From the _Processional_, with which the _Missal_ and
_Customary_ practically agree.]

Exinde [i.e. from the _Depositio_] continue ardebit unus cereus ad minus ante sepulcrum usque ad processionem quae fit in Resurrectione Dominica in die Paschae: ita tamen quod dum Psalmus _Benedictus_ canitur et cetera quae sequuntur, in sequenti nocte extinguatur: similiter et extinguatur in Vigilia Paschae, dum benedicitur novus ignis, usque accendatur cereus paschalis.

_The Elevatio._

[From the _Consuetudinary_.]

In die pasche ante matutinas conueniant clerici ed ecclesiam accensis cunctis cereis per ecclesiam: duo excellenciores presbiteri in superpelliceis ad sepulchrum accedant prius incensato ostio sepulchri cum magna ueneratione, corpus dominicum super altare deponant: deinde crucem de sepulchro tollant, excellenciore presbitero inchoante antiphonam _Christus resurgens_ et sic eant, per ostium australe presbiterii incedentes, per medium chori regredientes, cum thuribulario et ceroferariis precedentibus, ad altare sancti martini canentes praedictam antiphonam cum uersu suo. Deinde dicto uersiculo _Surrexit dominus de sepulchro_, et dicta oracione ab excellenciore sacerdote post debitam campanarum pulsacionem inchoentur matutine.

[From the _Ordinal_.]

_In Die Pasche_

_Ad Processionem ante Matutinas_ conueniant omnes clerici ad ecclesiam ac accendantur luminaria per ecclesiam. Episcopus uel decanus in superpelliceo cum ceroferariis thuribulariis et clero in sepulcrum accedant, et incensato prius sepulcro cum magna ueneracione corpus domini assumant et super altare ponant. Iterum accipientes crucem de sepulcro inchoet episcopus uel decanus Ant. _Christus resurgens._ Tunc omnes cum gaudio genua flectant et ipsam crucem adorent, idipsum canentes cum ℣. _Dicant nunc_. Tunc omnes campane in classicum pulsentur, et cum magna ueneracione deportetur crux ad locum ubi prouisum sit, clero canente predictam antiphonam. Quo facto dicat Sacerdos ℣. _Surrexit dominus de sepulcro_. Or. _Deus qui pro nobis._ Que terminetur sic, _Per eundem christum dominum nostrum_.

[From the _Breviary_, with which the _Processional_, although
less full, practically agrees.]

In die sancto Paschae ante Matutinas et ante campanarum pulsationem conveniant Clerici ad ecclesiam, et accendantur luminaria per totam ecclesiam. Tunc duo excellentiores Presbyteri in superpelliceis cum duobus Ceroferariis, et duobus thuribulis, et clero ad sepulchrum accedant: et incensato a praedictis duobus Presbyteris prius sepulchro cum magna veneratione, videlicet genuflectendo, statim post thurificationem corpus Dominicum super altare privatim deponant: iterum accipientes crucem de sepulchro, choro et populo interim genuflectente incipiat excellentior persona Ant. _Christus resurgens_. Et Chorus prosequatur totam antiphonam sic, _ex mortuis ... Alleluya_. Et tunc dum canitur Antiphona, eat processio per ostium australe presbyterii incedens et per medium chori regrediens [per ostium presbyterii australe incedendo per medium chori, et ingrediens, _Processional_] cum praedicta cruce de sepulchro inter praedictos duos Sacerdotes supereorum brachia venerabiliter portata, cum thuribulis et Ceroferariis praecedentibus, per ostium presbyterii boreale exeundo, ad unum altare ex parte boreali ecclesiae, Choro sequente, habitu non mutato, minoribus [excellentioribus, _Processional_] praecedentibus: ita tamen quod praedicti duo excellentiores in fine processionis subsequantur, corpore Dominico super altare in pixide dimisso et sub Thesaurarii custodia [in subthesaurarii custodia, _Processional_], qui illud statim in praedicta pixide in tabernaculo deponat [dependat ut potest in ista statione praecedente, _Processional_]: et tunc pulsentur omnes campanae in classicum.

Finito Antiphona praedicta, sequatur a toto Choro

V. _Dicant nunc Iudei ... Alleluya._

Finita autem Antiphona cum suo Versu a toto Choro, dicat excellentior persona in sua statione ad altare conversus hunc Versum.

V. _Surrexit Dominus de sepulchro._

R. _Qui pro nobis pependit in ligno. Alleluya._

_Oremus._

Oratio. _Deus, qui pro nobis.... Per Christum Dominum nostrum._

Et terminetur sub Dominicali tono ad processionem: nec praecedat nec subsequatur _Dominus vobiscum_.

Finita Oratione omnes cum gaudio genuflectent ibidem et ipsam crucem adorent, in primis digniores, et tunc secrete sine processione in chorum redeant.

His itaque gestis discooperiantur ymagines et cruces per totam ecclesiam: et interim pulsentur campanae, sicut in Festis principalibus, ad Matutinas more solito.

_The Censing in Easter Week._

[From the _Customary_.]

Ad primas uesperas ... post inchoacionem antiphone super psalmum _Magnificat_ procedat executor officii cum alio sacerdote ... ad thurificandum altare.... In die tamen pasche et per ebdomadam thurificetur sepulchrum domini post primam thurificacionem altaris, scilicet antequam thurificator altaris circumeat.

_The Removal of the Sepulchre._

[From the _Customary_.]

Die ueneris in ebdomada pasche ante missam amoueatur sepulchrum.

THE DUBLIN QUEM QUAERITIS

[From _Bodleian MS._ 15,846 (_Rawlinson Liturg._ D. 4), f.
130, a Sarum processional written in the fourteenth century
and belonging in the fifteenth to the church of St. John
the Evangelist, Dublin. A less good text from _Dublin, Abp.
Marsh’s Library, MS._ V. 3, 2, 10, another fourteenth century
processional from the same church, is facsimiled by W. H.
Frere, _Winchester Troper_, pl. 26ᵇ, and printed therefrom
by Manly, i. xxii. I give all the important variants of this
version.]

[709]Finito iij ℟ᵒ cum suo ℣ et G_lo_ria p_at_ri uenient tres p_er_sone in s_upe_rpell_iceis_ et i_n_ capis[709] s_er_icis capitib_us_ uelatis quasi tres Marie querentes Ih_esu_m[710], si_n_gule portantes pixidem in manib_us_ q_uas_i aromatib_us_, qua_rum_ prima ad ingressu_m_ chori usque sepulcru_m_ procedat p_er_ se[711] quasi lamentando dicat:

Heu! pius pastor occiditur,
Quem nulla culpa infecit:
O mors lugenda!

Factoq_ue_ modico int_er_uallo, i_n_tret s_e_c_un_da M_a_ria co_n_simili[712] modo et dicat:

Heu! nequam gens Iudaica,
Quam dira frendet uesania,
Plebs execranda!

Deinde iij Maria consimili m_od_o d_ica_t[713]:

Heu! uerus doctor obijt,
Qui uita_m_ f_un_ctis contulit:
O res plangenda!

Ad huc paululu_m_ procede_n_do prima Maria dicat[714]:

Heu! misere cur contigit[715]
Uidere mortem Saluatoris?

Deinde secunda Maria d_ica_t[716]:

Heu! Consolacio nostra,
Ut quid mortem sustinuit!

Tu_n_c[717] iij Maria:

Heu! Redempcio nostra,
Ut quid taliter agere uoluit!

Tu_n_c se co_n_iu_n_ga_n_t et procedant ad gradu_m_ cho_ri_ an_te_ altar_e_ si_mu_l[718] dice_n_tes:

Iam, iam, ecce, iam properemus ad tumulum
Unguentes[719] Delecti[720] corpus sanctissimum

[721]Dei_n_de proceda_n_t si_mi_l_iter_ p_ro_pe sepulchru_m_ et p_ri_ma Maria d_ica_t p_er_ se

Condumentis aromatu_m_
Ungam_us_ corpus sanctissimu_m_
Quo preciosa[721].

Tu_n_c s_e_c_un_da Maria dicat p_er_ se:

Nardi uetet commixtio,
Ne putrescat in tumulo
Caro beata!

Deinde iij Maria [722]dicat per se[722]:

Sed nequimus hoc patrare sine adiutorio.
Quis nam saxum reuoluet[723] a monumenti ostio?

Facto int_er_uallo, ang_e_l_us_ nix_us_ sepulcru_m_ apparuit[724] eis et dicat hoc modo:

Quem queritis ad sepulcrum, o Cristicole?

Deinde respo_n_deant tres Marie simul d_ice_nt_es_[725]:

Ih_esu_m Nazarenum crucifixum, o celicola!

Tu_n_c angelus dicet[726]:

Surrexit, non est hic, sicut dixit;
Uenite et uidete locum ubi positus fuerat.

Deinde p_re_d_i_c_t_e M_a_rie sepulcru_m_ intrent _et_[727] inclinantes se _et_ prospicientes undiq_ue_ intra sepulcru_m_, alta uoce quasi gaudentes[728] _et_ admirantes _et_ paru_m_ a sepulcro recedentes sim_u_l dica_n_t[729]:

Alleluya! resurrexit Dominus!
Alleluya! resurrexit Dominus hodie!
Resurrexit potens, fortis, _Christus_, Filius Dei!

Deinde ang_e_l_us_ ad eas[730]:

Et euntes dicite discipulis eius et Petro quia surrexit.

In quo reu_er_tant ad angelum quasi mandatu_m_ suu_m_ ad imple_n_du_m_ parate simul dicentes[731]:

Eya! pergamus propere
Mandatum hoc perficere!

Int_er_im ueniant ad ingressu_m_ cho_ri_ due p_er_sone nude pedes sub personis ap_osto_lo_rum_ Iohannis _et_ Pet_ri_ indute albis sine paruris cu_m_ tunicis, quo_rum_ Ioh_ann_es amictus tunica alba palma_m_ in manu gestans, Petrus uero rubea tunica indutus claues in manu ferens[732]; _et_ p_re_dicte mulieres de sepulcro reuertentes _et_ quasi de choro simul exeuntes, dicat prima Maria [733]p_er_ se[733] sequentiam:

Victime paschali laudes
Immolant _Christ_iani.
Agnus redemit oues:
Christus innocens Patri
Reconsiliauit peccatores.
Mors et uita duello
Conflixere mirando:
Dux uite mortuis[734]
Regnat uiuus.

Tu_n_c obuiantes eis in medio chori predicti discipuli, interrogantes simul dicant:

Dic nobis, Maria,
Quid uidisti in uia?

Tu_n_c p_ri_ma Maria respondeat quasi monstrando:

Sepulcrum _Christi_ uiuentis
Et gloriam uidi resurgentis.

Tu_n_c ij Maria r_espon_det si_mi_l_iter_[735] mo_n_strando:

Angelicos testes,
Sudarium et uestes.

Tunc iij[736] M_a_ria respondeat:

Surrexit _Christus_, spes nostra,
Precedet uos in Galileam.

Et sic p_ro_cedant sim_u_l ad ostium chori; int_er_im[737] currant duo ad monumentu_m_; ueru_m_ptamen ille discip_u_l_u_s que_m_ diligebat Ih_esus_ uenit p_ri_or ad monume_n_tu_m_, iuxta eu_a_ng_e_liu_m_: ‘Currebant au_tem_ duo sim_u_l _et_ ille alius discipulus p_re_cucurrit cicius Petro _et_ uenit p_ri_or ad monume_n_tu_m_, non t_ame_n introiuit.’ Uidentes discipuli p_re_d_ic_ti[738] sepulcru_m_ uacuu_m_ _et_ uerbis Marie credentes reu_er_ta_n_t se ad chorum dicentes[739]:

Credendum est magis soli Marie ueraci
Q_uam_ Iudeo_rum_ turbe fallaci!

Tunc audita[740] _Christ_i resurreccione, chorus p_ro_seq_ua_t_ur_ alta uoce quasi gaude_n_tes _et_ exultantes s_ic_ dicentes[741]:

Scimus _Christu_m surrexisse
A mortuis uere.
Tu nobis, uictor Rex, miserere!

Qua fi_ni_ta, executor officii incipiat:

Te Deum laudamus.

[742]Tu_n_c receda_n_t s_a_n_ctae_ Mar_i_e ap_os_t_ol_i _et_ angelus[742].

THE AUREA MISSA OF TOURNAI

[Communicated from _Lille Bibl. Munic. MS._ 62 (sixteenth
century) by L. Deschamps de Pas to the _Annales
archéologiques_, xvii (1857), 167.]

Sequuntur ceremonie et modus observandus pro celebratione misse MISSUS EST GABRIEL ANGELUS, &c., vulgariter dicte AUREE MISSE quolibet anno in choro ecclesie Tornacensis decantande feria xᵃ ante festum nativitatis Domini nostri Iesu-Christi, ex fundatione venerabilis viri magistri Petri Cotrel, canonici dicti ecclesie Tornacensis et in eadem archidiaconi Brugensis, de licentia et permissione dominorum suorum decani et capituli predicte ecclesie Tomacensis.—Primo, feria tercia, post decantationem vesperum, disponentur per carpentatorem ecclesie in sacrario chori dicte ecclesie Tornacensis, in locis iam ad hoc ordinatis et sibi oppositis, duo stallagia, propter hoc appropriata, que etiam ornabuntur cortinis et pannis cericeis ad hoc ordinatis per casularium iam dicte ecclesie, quorum alterum, videlicet quod erit de latere episcopi, serviet ad recipiendam beatam virginem Mariam, et alterum stallagium ab illo oratorio oppositum, quod erit de latere decani, serviat ad recipiendum et recludendum Angelum.—Item similiter eodem die deputatus ad descendendum die sequenti columbam, visitabit tabernaculum in altis carolis dispositum, disponet cordas, et parabit instrumentum candelis suis munitum, per quod descendet Spiritus Sanctus in specie columbe, tempore decantationis ewangelii, prout postea dicetur, et erit sollicitus descendere cordulam campanule, et illam disponere ad stallagium Angeli, ad illam campanulam pulsandam suo tempore, die sequenti, prout post dicetur.—Item in crastinum durantibus matutinis, magistri cantus erunt solliciti quod duo iuvenes, habentes voces dulces et altas, preparentur in thesauraria, hostio clauso, unus ad modum virginis seu regine, et alter ad modum angeli, quibus providebitur de ornamentis et aliis necessariis propter hoc per fundatorem datis et ordinatis.—Item post decantationem septime lectionis matutinarum, accedent duo iuvenes, Mariam videlicet et Angelum representantes, sic parati de predicta thesauraria, ad chorum intrando per maius hostium dicti chori, duabus thedis ardentibus precedentibus: Maria videlicet per latus domini episcopi, in manibus portans horas pulchras, et Angelus per latus domini decani, portans in manu dextra sceptrum argenteum deauratum, et sic morose progredientur, cum suis magistris directoribus, usque ad summum altare, ubi, genibus flexis, fundent ad Dominum orationem. Qua facta, progredientur dicti iuvenes quilibet ad locum suum, Maria videlicet ad stallagium, de parte episcopi preparatum, cum suo magistro directore, et Angelus ad aliud stallagium de parte decani similiter preparatum, etiam cum suo alio magistro directore, et ubique cortinis clausis. Coram quibus stallagiis remanebunt predicte thede, ardentes usque ad finem misse.—Item clerici thesaurarie, durantibus octava et nona lectionibus matutinarum, preparabunt maius altare solemniter, ut in triplicibus festis, et omnes candele circumquaque chorum sacrarum de rokemes, et in corona nova existentes accendentur. Et clerici revestiarii providebunt quod presbyter, dyaconus, subdiaconus, choriste, cum pueris revestitis, sint parati, in fine hymni TE DEUM, pro missa decantanda, ita quod nulla sit pausa inter finem dicti himpni TE DEUM et missam. Et in fine praedicte misse sit paratus presbiter ebdomarius cantandi versum _Ora pro nobis_, et deinde, _Deus in adiutorium_, de laudibus illas perficiendo per chorum, et in fine psalmi _De profundis_ dicendi, in fine matutinarum, more consueto, adiungetur collecta _Adiuva nos_ pro fundatore ultra collectam ordinariam.—Item, cum celebrans accesserit ad maius altare, pro incipienda missa, et ante _Confiteor_ immediate cortine circumquaque oratorium Virginis solum aperientur, ipsa Virgine attente orante et ad genua existente suo libro aperto, super pulvinari ad hoc ordinato, Angelo adhuc semper clauso in suo stallagio remanente.—Item cum cantabitur _Gloria in Excelsis Deo_ tunc cortine stallagii, in quo erit Angelus, aperientur. In quo stallagio stabit dictus Angelus erectus, tenens in manibus suis suum sceptrum argenteum, et nichil aliud faciens, quousque fuerit tempus cantandi ewangelium, nec interim faciet Virgo aliquod signum videndi dictum angelum, sed, submissis oculis, erit semper intenta ad orationem.—Item cum appropinquarit tempus cantandi dictum ewangelium, diaconus cum subdiacono, pueris cum candelis et cruce precedentibus, progredientur ad locum in sacrario sibi preparatum, et cantabit ewangelium _Missus est Gabriel_, et etiam cantabunt partes suas Maria et Angelus, prout ordinatum et notatum est in libro ad hoc ordinato.—Item cum Angelus cantabit hec verba ewangelii, _Ave, gratia plena, Dominus tecum_, faciet tres ad Virginem salutationes; primo ad illud verbum _Ave_, humiliabit se tam capite quam corpore, post morose se elevando; et ad illa verba, _gratia plena_, faciet secundam humiliationem, flectendo mediocriter genua sua, se postea relevando; et ad illa verba, _Dominus tecum_, quae cantabit cum gravitate et morose, tunc faciet terciam humiliationem ponendo genua usque ad terram et finita clausula assurget, Virgine interim se non movente. Sed dum Maria virgo cantabit _Quomodo fiet istud_, assurget et vertet modicum faciem suam ad Angelum cum gravitate et modestia, non aliter se movendo. Et dum cantabit Angelus _Spiritus Sanctus superveniet in te_, etc., tunc Angelus vertet faciem suam versus columbam illam ostendendo, et subito descendet ex loco in altis carolis ordinato, cum candelis in circuitu ipsius ardentibus, ante stallagium sive oratorium Virginis, ubi remanebit, usque post ultimum _Agnus Dei_, quo decantato, revertetur ad locum unde descenderat.—Item magister cantus, qui erit in stallagio Angeli, sit valde sollicitus pro propria vice pulsare campanam in altis carolis, respondente in initio ewangelii, ut tunc ille qui illic erit ordinatus ad descendendum columbam sit preadvisatus et preparet omnia necessaria et candelas accendat. Et secunda vice sit valde sollicitus pulsare dictam campanulam, ita quod precise ad illud verbum _Spiritus Sanctus_ descendat ad Virginem columbam ornatam candelis accensis, et remaneat ubi descenderit, usque ad ultimum _Agnus Dei_ decantatum, prout dictum est. Et tunc idem magister cantus iterum pulsabit pro tercia vice eamdem campanulam, ut revertatur columba unde descenderit. Et sit ille disponendus vel deputandus ad descendendum dictam columbam bene preadvisatus de supra dicta triplici pulsatione et quid quilibet significabit ne sit in aliquo defectus.—Item predicti, diaconus, Maria, et Angelus complebunt totum ewangelium in eodem tono prout cuilibet sibi competit, et ewangelio finito reponet se Maria ad genua et orationem, et Angelus remanebit rectus, usque in finem misse, hoc excepto, quod in elevatione corporis Christi ponet se ad genua.—Item postea proficietur missa, Maria et Angelo in suis stallagiis usque in fine permanentibus.—Item missa finita, post _Ite, missa est_, Maria et Angelus descendent de suis stallagiis et revertentur cum reliquiis et revestitis usque ad revestiarium predictum eorum, flambellis precedentibus. In quo revestiario presbiter celebrans cum predictis revestitis Maria et Angelo dicet psalmum _De profundis_, prout in choro cum adiectione collecte _Adiuva_ pro fundatore.—Item fiet missa per omnia, ut in die Annunciationis dominice cum sequentia sive prosa _Mittit ad virginem_, cum organis et discantu prout in triplicibus.

SUBJECTS OF THE CYCLICAL MIRACLES

[This comparative table is based on that drawn up by Prof.
Hohlfeld in _Anglia_, xi. 241. The episodes are taken in their
scriptural order, which is not always that of the plays. I have
added the Cornish data, using O. P. R. to indicate the _Origo
Mundi_, _Passio Domini_, and _Resurrectio Domini_ of the older
text, and J. for William Jordan’s _Creation of the World_. I
have quoted Halliwell’s divisions of the _Ludus Coventriae_,
really a continuous text, for convenience sake.]

-------------------------------+--------------+--------------+----------+
_Episodes._ | _York._ | _Townley._ |_Chester._|
-------------------------------+--------------+--------------+----------+
1. Fall of Lucifer | i | i | i |
2. Creation and Fall of Man | ii-vi | i[744] | ii |
3. Cain and Abel | vii | ii | ii |
4. Wanderings of Cain | —— | —— | —— |
5. Death of Cain | —— | —— | —— |
6. Seth in Paradise and Death | —— | —— | —— |
of Adam | | | |
7. Enoch | —— | —— | —— |
8. Noah and the Flood | viii, ix | iii | iii |
9. Abraham and Melchisedec | —— | —— | iv |
10. Abraham and Isaac | x | iv | iv |
11. Jacob’s Blessing | —— | v[744] | —— |
12. Jacob’s Wanderings | —— | vi | —— |
13. Moses and the Exodus | xi | viii | —— |
14. Moses in the Wilderness | —— | vii | v |
15. Balaam | —— | —— | v |
16. David and the Rods | —— | —— | —— |
17. David and Bathsheba | —— | —— | —— |
18. Building of the Temple | —— | —— | —— |
19. Prophecy of Maximilla | —— | —— | —— |
20. Bridge over Cedron | —— | —— | —— |
21. _Prophetae_ | xii[746] | vii | —— |
22. Joachim and Anna | —— | —— | —— |
23. Mary in the Temple | —— | —— | —— |
24. Betrothal of Mary | —— | x[743] | —— |
25. Annunciation | xii | x | vi |
26. Salutation of Elizabeth | xii | xi | vi |
27. Suspicion of Joseph | xiii | x | vi |
28. Purgation of Mary | —— | —— | —— |
29. Augustus and Cyrenius | —— | ix | —— |
30. Nativity | xiv | —— | vi |
31. Conversion of Octavian | —— | —— | vi |
32. _Pastores_ | xv |xii, xiii[747]| vii |
33. Purification | xli[748] | xvii[749] | xi |
34. _Magi_ before Herod |xvi, xvii[744]| xiv | viii |
35. Offering of _Magi_ | xvii | xiv | ix |
36. Flight into Egypt | xviii | xv | x |
37. Massacre of Innocents | xix | xvi | x |
38. Death of Herod | —— | —— | —— |
39. Presentation in Temple | xx | xviii[746] | —— |
40. Baptism | xxi | xix | —— |
41. Temptation | xxii | —— | xii |
42. Marriage in Cana | [lost] | —— | —— |
43. Transfiguration | xxiii | —— | |
44. Woman in Adultery | xxiv | —— | xii |
45. Healing of Blind in Siloam | —— | —— | xiii |
46. Raising of Lazarus | xxiv | xxxi[745] | xiii |
47. Healing of Bartimaeus | —— | —— | —— |
48. Entry into Jerusalem | xxv | —— | xiv |
49. Cleansing of Temple | —— | —— | xiv |
50. Jesus in House of Simon | [lost] | xx[743] | xiv |
the Leper | | | |
51. Conspiracy of Jews | xxvi | xx | xiv |
52. Treachery of Judas | xxvi | xx | xiv |
53. Last Supper | xxvii | xx | xv |
54. Gethsemane | xxviii | xx | xv |
55. Jesus before Caiaphas | xxix | xxi | xvi |
56. Jesus before Pilate | xxx | —— | xvi |
57. Jesus before Herod | xxxi | —— | xvi |
58. Dream of Pilate’s Wife | xxx | —— | —— |
59. Remorse and Death of Judas | xxxii | xxxii[750] | —— |
60. Condemnation | xxxiii | xxii | xvi |
61. Cross Brought from Cedron | —— | —— | —— |
62. Bearing of the Cross | xxxiv | xxii | xvii |
63. Veronica | xxxiv | —— | —— |
64. Crucifixion | xxxv | xxiii | xvii |
65. Casting of Lots | xxxv | xxiii, xxiv | xvii |
66. _Planctus Mariae_ | xxxvi | xxiii | xvii |
[cf. p. 39] | | | |
67. Death of Jesus | xxxvi | xxiii | xvii |
68. Longinus | xxxvi | xxiii | xvii |
69. Descent from Cross | xxxvi | xxiii | xvii |
70. Burial | xxxvi | —— | —— |
71. Harrowing of Hell | xxxvii | xxv | xviii |
72. Release of Joseph and | —— | —— | —— |
Nicodemus | | | |
73. Setting of Watch | xxxviii | xxvi | xix |
74. Resurrection | xxxviii | xxvi | xix |
75. _Quem Quaeritis_ | xxxviii | xxvi | xix |
76. _Hortulanus_ | xxxix | xxvi | xix[751]|
77. _Peregrini_ | xl | xxvii | xx |
78. Incredulity of Thomas | xlii | xxviii | xx |
79. Death of Pilate | —— | —— | —— |
80. Veronica and Tiberius | —— | —— | —— |
81. Ascension | xliii | xxix | xxi |
82. Pentecost | xliv | [? lost] | xxii |
83. Death of Mary | xlv | —— | —— |
84. Burial of Mary | [lost] | —— | —— |
85. Apparition of Mary to | xlvi | —— | —— |
Thomas | | | |
86. Assumption and Coronation | xlvii[752] | —— | [lost] |
87. Signs of Judgement | —— | —— | xxiii |
[cf. p. 53] | | | |
88. Antichrist [cf. p. 62] | —— | —— | xxiv |
89. Doomsday | xlviii | xxx | xxv |
-------------------------------+--------------+--------------+----------+

INTERLUDIUM DE CLERICO ET PUELLA

[Printed by Wright and Halliwell, _Reliquiae Antiquae_ (1841),
i. 145, from an early fourteenth-century MS., then belonging to
the Rev. R. Yerburgh, of Sleaford. On the piece and its sources
in the Latin, French, and English _fabliaux_ of _Dame Siriz_,
cf. Ten Brink, i. 255; ii. 295; Jusserand, _Lit. Hist._ i. 446.
Ten Brink assigns the dramatic text, which is in the South
Northumbrian dialect, to the reign of Edward I (1272-1307).]

_Hic incipit Interludium de Clerico el Puella._

[Scene 1.]

_Clericus._ Damishel, reste wel.

_Puella._ Sir, welcum, by Saynt Michel!

_Clericus._ Wer esty sire, wer esty dame?

_Puella._ By Gode, es noner her at hame.

_Clericus._ Wel wor suilc a man to life,
That suilc a may mithe have to wyfe!

_Puella._ Do way, by Crist and Leonard,
No wily lufe, na clerc fayllard,
Na kepi herbherg, clerc, in huse no y flore
Bot his hers ly wit-uten dore.
Go forth thi way, god sire,
For her hastu losye al thi wile.

_Clericus._ Nu, nu, by Crist and by sant Jhon,
In al this land ne wis hi none,
Mayden, that hi luf mor than the,
Hif me mithe ever the bether be.
For the hy sory nicht and day,
Y may say, hay wayleuay!
Y luf the mar than mi lif,
Thu hates me mar than gayt dos chuief.
That es noute for mys-gilt,
Certhes, for thi luf ham hi spilt.
A, suythe mayden, reu ef me
That es ty luf, hand ay salbe.
For the luf of [the] y mod of efne;
Thu mend thi mode, and her my stevene.

_Puella._ By Crist of heven and sant Jone!
Clerc of scole ne kepi non;
For many god wymman haf thai don scam.
By Crist, thu michtis haf be at hame.

_Clericus._ Synt it nothir gat may be,
Jhesu Crist, by-tethy the,
And send neulit bot thar inne,
That thi be lesit of al my pyne.

_Puella._ Go nu, truan, go nu, go,
For mikel thu canstu of sory and wo.

[Scene 2.]

_Clericus._ God te blis, Mome Helwis.

_Mome Helwis._ Son, welcum, by san Dinis!

_Clericus._ Hic am comin to the, Mome,
Thu hel me noth, thu say me sone.
Hic am a clerc that hauntes scole,
Y hidy my lif wyt mikel dole;
Me wor lever to be dedh,
Than led the lif that hyc ledh,
For ay mayden with and schen,
Fayrer ho lond hawy non syen.
Tho hat mayden Malkyn, y wene;
Nu thu wost quam y mene,
Tho wonys at the tounes ende,
That suyt lif, so fayr and hende.
Bot if tho wil hir mod amende,
Neuly Crist my ded me send.
Men send me hyder, vyt uten fayle,
To haf thi help anty cunsayle.
Thar for amy cummen here,
That thu salt be my herand-bere,
To mac me and that mayden sayct,
And hi sal gef the of my nayct,
So that hever al thi lyf
Saltu be the better wyf.
So help me Crist! and hy may spede,
Rithe saltu haf thi mede.

_Mome Ellwis._ A, son, wat saystu? benedicite,
Lift hup thi hand, and blis the.
For it es boyt syn and scam,
That thu on me hafs layt thys blam.
For hic am an ald quyne and a lam.
Y led my lyf wit Godis love.
Wit my roc y me fede,
Cani do non othir dede,
Bot my pater noster and my crede,
Tho say Crist for missedede,
And my navy Mary,
For my scynne hic am sory,
And my de profundis,
For al that yn sin lys.
For cani me non othir think,
That wot Crist, of heven kync.
Ihesu Crist, of heven hey,
Gef that hay may heng hey,
And gef that by may se,
That thay be henge on a tre,
That this ley as leyit onne me.
For aly wymam (_sic_) ami on.

TERENTIUS ET DELUSOR

[I follow the text of P. de Winterfeld, _Hrotsvithae Opera_
(1902), xx; the piece was previously edited by C. Magnin in
_Bibliothèque de l’École des Chartes_, i (1840), 517; A. de
Montaiglon in _L’Amateur des Livres_ (1849); A. Riese, in
_Zeits. f. d. österreich. Gymn._ xviii. 442; R. Sabbadini
(1894). The only manuscript is _B. N. Lat. MS._ 8069 of
the late tenth or early eleventh century. Various scholars
have dated the poem from the seventh to the tenth century;
Winterfeld declares for the ninth. It might have been intended
as a prologue to a Terentian revival or to a mime. The homage
paid to the _vetus poeta_ by the _delusor_ in his asides rather
suggests the former; cf. Cloetta, i. 2; Creizenach, i. 8.]

[DELUSOR.]

Mitte recordari monimenta vetusta, Terenti;
cesses ulterius: vade, poeta vetus.
vade, poeta vetus, quia non tua carmina curo;
iam retice fabulas, dico, vetus veteres.
dico, vetus veteres iamiam depone camenas,
quae nil, credo, iuvant, pedere ni doceant.
tale decens carmen, quod sic volet ut valet istud;
qui cupit exemplum, captet hic egregium.
huc ego cum recubo, me taedia multa capescunt:
an sit prosaicum, nescio, an metricum.
dic mihi, dic, quid hoc est? an latras corde sinistro?
dic, vetus auctor, in hoc quae iacet utilitas?

_Nunc TERENTIUS exit foras audiens haec et ait_:

quis fuit, hercle, pudens, rogo, qui mihi tela lacessens
turbida contorsit? quis talia verba sonavit?
hic quibus externis scelerosus venit ab oris,
qui mihi tam durum iecit ridendo cachinnum?
quam graviter iaculo mea viscera laesit acuto!
hunc ubi repperiam, contemplor, et hunc ubi quaeram?
si mihi cum tantis nunc se offerat obvius iris,
debita iudicio persolvam dona librato.

_Ecce persona DELUSORIS praesentatur et hoc audiens inquit_:

quem rogitas ego sum: quid vis persolvere? cedo;
huc praesens adero, non dona probare recuso.

TERENTIUS.

tunc, sceleste, meas conrodis dente Camenas?
tu quis es? unde venis, temerarie latro? quid istis
vocibus et dictis procerum me, a! perdite, caedis?
tene, superbe, meas decuit corrumpere Musas?

PERSONA DELUSORIS.

si rogitas, quis sum, respondeo: te melior sum:
tu vetus atque senex, ego tyro valens adulescens;
tu sterilis truncus, ego fertilis arbor, opimus.
si taceas, vetule, lucrum tibi quaeris enorme.

TERENTIUS.

quis tibi sensus inest? numquid melior me es? ...
nunc, vetus atque senex quae fecero, fac adolescens.
si bonus arbor ades, qua fertilitate redundas?
cum sim truncus iners, fructu meliore redundo.

PERSONA _secum_.

nunc mihi vera sonat; set huic contraria dicam—
quid magis instigas? quid talia dicere certas?
haec sunt verba senum, qui cum post multa senescunt
tempora, tunc mentes in se capiunt pueriles.

TERENTIUS.

hactenus antiquis sapiens venerandus ab annis
inter et egregios ostentor et inter honestos.
sed mihi felicem sapientis tollis honorem,
qui mihi verba iacis et vis contendere verbis.

PERSONA.

si sapiens esses, non te mea verba cierent.
o bone vir, sapiens ut stultum ferre libenter,
obsecro, me sapias; tua me sapientia firmet.

TERENTIUS.

cur, furiose, tuis lacerasti carmina verbis?
me retinet pietas, quin haec manus arma cerebro
implicet ista tuo: pessumdare te miseresco.

PERSONA _secum_.

quam bene ridiculum mihi personat iste veternus.—
te retinet pietas? nam fas est credere, credo.
me, peto, ne tangas, ne sanguine tela putrescant.

TERENTIUS.

cur, rogo, me sequeris? cur me ludendo lacessis?

[PERSONA.]

sic fugit horrendum praecurrens damna leonem.

[TERENTIUS.]

vix ego pro superum teneor pietate deorum,
ad tua colla meam graviter lentescere palmam.

PERSONA.

vae tibi, pone minas: nescis quem certe minaris.
verba latrando, senex cum sis vetus, irrita profers.
i, rogo, ne vapules et, quod minitare, reportes;
nunc ego sum iuvenis: patiarne ego verba vetusti?

TERENTIUS.

o iuvenis, tumidae nimium ne crede iuventae:
saepe superba cadunt, et humillima saepe resurgunt.
o mihi si veteres essent in pectore vires,
de te supplicium caperem quam grande nefandum.
si mihi plura iacis et tali voce lacessis,
p....

REPRESENTATIONS OF MEDIAEVAL PLAYS

[I have attempted to bring together, under a topographical
arrangement, the records of such local plays of the mediaeval
type as I am acquainted with. Probably the number could
be increased by systematic search in local histories and
transactions of learned societies. But my list is a good deal
longer than those of L. T. Smith, _York Plays_, lxiv; Stoddard,
53; or Davidson, 219. For convenience I have also noted here
a few records of Corpus Christi processions, and of folk
‘ridings’ and other institutions. The following index-table
shows the geographical distribution of the plays. The names
italicized are those of places where plays have been reported
in error or are merely conjectural.]

INDEX.

BEDFORDSHIRE.

Dunstable, page 366.

BERKSHIRE.

Abingdon, 337.
Reading, 392.
Windsor, 396.

BUCKINGHAMSHIRE.

Wycombe, 398.

CAMBRIDGESHIRE.

Bassingbourne, 338.
Cambridge, 344.

CHESHIRE.

Chester, 348.

CORNWALL.

_Camborne_, 344.
_Penrhyn_, 390.
Per Ranzabulo, 390.
St. Just, 393.

DENBIGHSHIRE.

Wrexham, 398.

DEVONSHIRE.

Morebath, 384.

DORSETSHIRE.

Wimborne Minster, 396.

DURHAM.

Bishop Auckland, 342.

ESSEX.

Baddow, 338.
Billericay, 341.
Boreham, 342.
Braintree, 342.
Brentwood, 342.
Burnham, 343.
Chelmsford, 345.
Coggeshall, 357.
Colchester, 357.
Easterford, 367.
Hadleigh, 367.
Halstead, 367.
Hanningfield, 368.
Heybridge, 370.
High Easter, 370.
Kelvedon, 373.
Lanchire (?), 375.
Little Baddow, 379.
Malden, 384.
Manningtree, 384.
Nayland, 385.
Sabsford (?), 393.
Saffron Walden, 393.
Stapleford (?), 395.
Stoke-by-Nayland, 395.
Witham, 397.
Woodham Walter, 397.
Writtle, 398.

GLOUCESTERSHIRE.

_Bristol_, 342.
Tewkesbury, 396.

HAMPSHIRE.

Winchester, 396.

HEREFORDSHIRE.

_Hereford_, 368.

KENT.

Appledore, 337.
Bethersden, 338.
Brookland, 343.
Canterbury, 344.
Folkestone, 367.
Great Chart, 367.
Ham Street, 367.
Herne, 370.
High Halden, 370.
Hythe, 371.
Lydd, 383.
New Romney, 385.
Ruckinge, 393.
Stone, 396.
Wittersham, 397.
Wye, 398.

LANCASHIRE.

Lancaster, 375.
Preston, 392.

LEICESTERSHIRE.

Foston, 367.
Leicester, 376.

LINCOLNSHIRE.

Holbeach, 370.
Lincoln, 377.
Louth, 383.
Sleaford, 395.

MIDDLESEX.

London, 379.
Mile End, 384.

NORFOLK.

_Croxton_, 363.
Garboldisham, 367.
Harling, 368.
Kenninghall, 374.
King’s Lynn, 374.
Lopham, 383.
Middleton, 384.
Norwich, 386.
Shelfhanger, 393.
Wymondham, 398.
Yarmouth, 399.

NORTHAMPTONSHIRE.

Daventry, 363.
_Northampton_, 386.

NORTHUMBERLAND.

Newcastle, 385.

OXFORDSHIRE.

Fyfield, 367.
Idbury, 371.
Langley, 375.
Lyneham, 383.
Milton, 384.
Oxford, 389.
Shipton, 394.

SHROPSHIRE.

Shrewsbury, 394.

SOMERSETSHIRE.

Bath, 338.
Tintinhull, 396.

STAFFORDSHIRE.

Lichfield, 377.

SUFFOLK.

Boxford, 342.
_Bury St. Edmunds_, 343.
Bungay, 343.
Ipswich, 371.
Ixworth, 373.
Lavenham, 375.
Mildenhall, 384.

SURREY.

Hascombe, 368.
Kingston, 374.

SUSSEX.

Rye, 393.

WARWICKSHIRE.

Coleshill, 357.
Coventry, 357.
Maxstoke, 384.
Nuneaton, 389.

WESTMORELAND.

Kendal, 373.

WILTSHIRE.

Salisbury, 393.

WORCESTERSHIRE.

Worcester, 398.

YORKSHIRE.

Beverley, 338.
Hull, 370.
Leconfield, 375.
_Leeds_, 375.
_Wakefield_, 396.
_Woodkirk_, 398.
York, 399.

SCOTLAND.

Aberdeen, 330.
Edinburgh, 366.

IRELAND.

Dublin, 363.
Kilkenny, 374.

ABERDEEN, SCOTLAND.

I summarize the references to plays and pageants in the Burgh Records[754].

_May 13, 1440._ Richard Kintor, abbot of Boneacord, was granted ‘unus burgensis futurus faciendus’ (i.e. the fees on taking up the freedom), ‘pro expensis suis factis et faciendis in quodam ludo de ly Haliblude ludendo apud ly Wyndmylhill.’

_Sept. 5, 1442._ ‘Thir craftes vndirwritten sal fynd yerly in the offerand of our Lady at Candilmes thir personnes vnderwrittin; that is to say,

The littistares sal fynd,
The empriour and twa doctoures, and alsmony honeste squiares as thai may.
The smythes and hammermen sal fynd,
The three kingis of Culane, and alsmony honeste squiares as thai may.
The talzoures sal fynd,
Our lady Sancte Bride, Sancte Helone, Joseph, and alsmony squiares as
thai may.
The skynnares sal fynd,
Two bischopes, four angeles, and alsmony honeste squiares as thai may.
The webstares and walkares sal fynd,
Symon and his disciples, and alsmony honeste squiares, etc.
The cordinares sal fynd,
The messyngear and Moyses, and alsmony honeste squiares, etc.
The fleschowares sal fynd,
Twa or four wodmen, and alsmony honest squiares, etc.
The brethir of the gilde sall fynd,
The knyghtes in harnace, and squiares honestely araiit, etc.
The baxsteiris sal fynd,
The menstralis, and alsmony honest squyares as thai may.’

_May 21, 1479._ Order for the alderman ‘to mak the expensis and costis of the comon gude apon the arayment, and uthris necessaris, of the play to be plait in the fest of Corpos Xristi nixttocum.’

_Feb. 1, 1484/5._ Order for all craftsmen to ‘beyr thare takyinis of thare craft apon thare beristis, and thare best aray on Canddilmes day at the Offerand.’

_Feb. 3, 1502/3._ Fine imposed upon certain websters, because ‘thai did nocht it that accordit thame to do one Candilmese day, in the Passioun [? Pr’ssioun, “Procession”],’ owing to a dispute as to precedence with the tailors.

_Jan. 30, 1505/6._ Order for continuance of ‘the ald lovabile consuetud and ryt of the burgh’ that the craftsmen ‘kepit and decorit the procession one Candilmes day yerlie; ... and thai sale, in order to the Offering in the Play, pass tua and ij togidr socialie; in the first the flesshoris, barbouris, baxturis, cordinaris, skineris, couparis, wrichtis, hat makars [and] bonat makars togidr, walcaris, litstaris, wobstaris, tailyeouris, goldsmiths, blaksmithis and hammermen; and the craftsmen sal furnyss the Pageants; the cordinaris, the Messing[er]; wobstaris and walcaris, Symeon; the smyths [and] goldsmiths, iij Kingis of Cullane; the litstaris, the Emperour; the masons, the Thrie Knichtis; the talyors, our Lady, Sanct Brid, and Sanct Elene; and the skynners, the Tua Bischopis; and tua of ilke craft to pass with the pageant that thai furnyss to keip thair geir.’

_May 28, 1507._ Order for precedence ‘in ale processiounis, baitht in Candilmes play and utheris processionis.’

_Jan. 30, 1510/1._ The order of Jan. 30, 1505/6 repeated _verbatim_.

_Feb. 3, 1510/1._ Citizens fined ‘becauss thai passt not in the procession of Candilmes day to decoir the samyn.’

_Feb. 5, 1523/4._ Johne Pill, tailor, to do penance, ‘for the disobeing of David Anderson, bailze, becaus he refusit to pas in the Candilmess processioun with his taikin and sing of his craft in the place lemit to his craft, and in likewise for the mispersoning of the said Dauid Andersoun, the merchandis of the said guid town, in calling of thame Coffeis, and bidding of thame to tak the salt pork and herboiss in thair handis.’

_May 22, 1531._ Order for the craftsmen to ‘keipe and decoir the processioun on Corpus Cristi dais, and Candilmes day ... every craft with thair awin baner.... And euery ane of the said craftis, in the Candilmes processioun, sall furneiss thair pageane, conforme to the auld statut, maid in the yeir of God jai vᶜ and x yeris....

The craftis ar chargit to furneiss thair panzeanis vnder writtin.

The flescharis, Sanct Bestian and his Tourmentouris.

The barbouris, Sanct Lowrance and his Tourmentouris.

The skynnaris, Sanct Stewin and his Tourmentouris.

The cordinaris, Sanct Martyne.

The tailzeouris, the Coronatioun of Our Lady.

Litstaris, Sanct Nicholes.

Wobstaris, walcaris, and bonet makaris, Sanct John.

Baxstaris, Sanct Georg.

Wrichtis, messonis, sclateris, and cuparis, The Resurrectioun.

The smithis and hemmirmen to furneiss The Bearmen of the Croce.’

_June 13, 1533._ A very similar order, but without the list of pageants, and so worded as to extend the obligation of furnishing pageants to the Corpus Christi, as well as the Candlemas procession:—‘The craftismen ... sall ... keip and decoir the processionis on XXi day and Candelmes day ... euery craft with thair avin banar ... with thair pegane.... And euery craft in the said processionis sall furneiss thair pegane and banar honestlie as effers, conforme to the auld statut maid in the yeir of God jaj vᶜ and tene yers.’

_June 21, 1538._ Dispute between goldsmiths and hammermen as to precedence ‘in the processioun of Corpus Xri.’

_June 25, 1546._ Litsters ordered to ‘haue thar banar and Pagane, as uther craftis of the said Burgh hes, ilk yeir, on Corpus Xhri day, and Candilmess dayis processiounis.’

_June 4, 1553._ Disputes as to ordering of Corpus Christi procession.

_May 21, 1554._ Similar disputes. A ‘Pagane’ in procession mentioned.

_May 29, 1556._ Order for observance of statute as to Corpus Christi procession.

The interpretation of these notices is not quite clear. Davidson, 220, seems to think that there was never more than a _mystère mimé_ at Candlemas. But the ‘play’ is mentioned in 1506, 1507, and 1510. I conjecture that the Passion and Nativity cycles were not merged in Aberdeen. The Passion (Haliblude play) was performed, perhaps only occasionally, on Corpus Christi day; the Nativity annually, at Candlemas. The ‘persones’ of 1442 and the ‘Pageants’ of 1505/6 are practically identical, and would furnish a short play, with Moses and Octavian to represent the _Prophetae_, a _Stella_, and a _Presentation in the Temple_. But there was certainly also a procession in which the ‘honest squiares’ of 1442 figured. This may have preceded the play, but it may have been in some way introduced into it at ‘the offerand’ (of the Virgin in the Temple, or of the Magi?). The pageants in the list of 1531 are such as cannot all have formed part of a connected cycle. But some of them might come from the ‘Haliblude’ play, and I take it that this list was meant for the Corpus Christi procession only, the Candlemas procession being still regulated by the order of 1507.

_Bon Accord._

The Haliblude play of 1440 was directed by the Abbot of Bon Accord. This was the Aberdeen name for the Lord of Misrule. There are many notices of him.

_April 30, 1445._ Order ‘for letting and stanching of diuerse enormyteis done in time bygane be the abbotis of this burgh, callit of bone acorde, that in time to cum thai will giue na feis to na sic abbotis. Item, it is sene speidful to thame that for the instant yher thai will haue na sic abbot; but thai will that the alderman for the tyme, and a balyhe quhom that he will tak til him, sall supple that faute.’

_August 17, 1491._ Dispute as to fee of ‘Abbat of Bonacord.’

_May 8, 1496._ Choice, ‘for vphaldin of the auld lovable consuetud, honour, consolacioun, and pleasour of this burgh,’ of two ‘coniunctlie abbotis and priour of Bonacord,’ with fee of five marks.

_Nov. 30, 1504._ All ‘personis burges nichtbours, and burgyes sonnys’ to ride with ‘Abbot and Prior of Bonaccord’ on St. Nicholas day annually when called on by them.

[In 1511 and 1515 this function of the Abbot has passed to the provost and baillies.]

_May 16, 1507._ ‘All manere of youthis, burgeis and burges sonnys salbe redy everie halyday to pass with the Abbat and Prior of Bonacord.’

_May 8, 1508._ ‘All personis that are abill within this burghe sall be ready with thair arrayment maid in grene and yallow, bowis, arrowis, brass, and all uther convenient thingis according thairto, to pass with Robyne Huyd and Litile Johnne, all tymes convenient tharto, quhen thai be requirit be the saidis Robyne and Litile Johnne.’

_Nov. 17, 1508._ Order for St. Nicholas riding ‘with Robert Huyid and Litile Johne, quhilk was callit, in yers bipast, Abbat and Prior of Bonacord.’

_April 13, 1523._ Choice of ‘Lordis of Bonaccord,’ young men ‘to rise and obey to thame.’ They are also to be ‘Mastris of Artuilyery.’

_April 30, 1527._ Grant of ‘x marks of the fyrst fremen that hapynnis to be frathinfurht’ to ‘the Lord of Bonnacord and his fellow.’

_Aug. 3, 1528._ Similar grant to ‘thair lovits, Jhone Ratray and Gilbert Malisoun, thair Abbatis out of ressoun.’

_April 16, 1531._ One of those chosen to be ‘lords of Bonacord, to do plesour and blythnes to the toune in this sessoun of symmir incumming’ protests against his appointment.

_Oct. 11, 1533._ Grant of fee to ‘lordis of Bonaccord.’

_April 30, 1535._ Order ‘that all the zoung abil men within this guid [toune] haue thair grene cottis, and agit men honest cottis, efferand to thame, and obey and decor the lordis of Bonaccord.’

_April 4, 1539._ ‘The lordis of Bonacordis desyr’ for their fee, and for ‘all the yong able men within this guid towne to conwey ws euery Sunday and halyday, and wther neidfull tymes, aboulzeit as your M. has deuisit, and agit men to meit us at the crabstane or kirkyard’ is granted.

_June 23, 1539._ Fee to ‘lordis of Bonacord.’

_April 17, 1541._ Similar fee ‘to help to the decoration and plesour to be done be thaim to this guid towne.’

_April 17, 1542._ Similar fee.

_April 24, 1542._ ‘Alex. Kayn, accusit in gugment for his wyff ... for the hawy strublens and vile mispersoning of Alex. Gray and Dauid Kintoir, lordis of Bonacord, and thair company present with thame for the tyme, sayand common beggaris and skafferis, thair meltyd was but small for all thair cuttit out hoyss, with moy oder inurious wordis, unleful to be expremit.’

_July 24, 1545._ Grant of ‘compositioun siluer’ as fee.

_April 20, 1548._ Similar fee.

_April 14, 1552._ ‘The said day, the counsell, all in ane voce, havand respect and consideratioune that the lordis of Bonnacord in tymes bygane hase maid our mony grit, sumpteous, and superfleous banketing induring the tyme of thair regnn, and specialie in May, quhilks wes thocht nother profitabill nor godlie, and did hurt to sundry young men that wer elekit in the said office, becaus the last elekit did aye pretent to surmont in thair predecessouris in thair ryetouss and sumpteous banketing, and the causs principal and gud institutiounn thairof, quhilk wes in halding of the gud toun in glaidnes and blythtnes, witht danssis, farsiis, playis, and gamis, in tymes convenient, necleckit and abusit; and thairfor ordinis that in tyme cummin all sic sumpteous banketing be laid doun aluterlie except thre sobir and honest, vizt., upoun the senze day, the first Sonday of May, and ane [ ] upoun Tuisday efter Pasche day, and na honest man to pass to ony of thair banketis except on the said thre dais allanerlie; and in ane place of the forsaid superfleouss banketing to be had and maid yeirly to generall plais, or ane at the lest, with danssis and gammes usit and wont; and quha souer refuisis to accept the said office in tyme cumming, beand elekit thairto be the toun, to tyne his fredome, priuelege, takis, and profit he hes or ma haf of the toun, and neuer to be admittit frathinfurtht to office, honour, nor dingnete.’

_May 27, 1552._ Grant of fee, larger than usual, ‘be ressoune that thai ar put to grytar coist this yeir nor utheris that bar office before thaim hes bene put to, and that be ressoune of cummyng of the quenis grace, my lord governor, and the maist of the lords and grit men of this realme, presently to this toun.’

[1555. Parliament ‘statute and ordanit that in all tymes cumming na maner of persoun be chosin Robert Hude nor Lytill Johne, Abbot of vnressoun, Quenis of Maij, nor vtherwyse, nouther in Burgh nor to landwart in ony tyme to cum, and gif ony Prouest, Baillies, counsall, and communitie, chesis sic ane Personage as Robert Hude, Lytill Johne, Abbottis of vnressoun, or Quenis of Maij within Burgh, the chesaris of sic sall tyne thair fredome for the space of fyve zeiris, and vther wyse salbe punist at the Quenis grace will, and the acceptar of sicklyke office salbe banist furth of the Realme. And gif ony sic persounis sic as Robert Hude, Lytill Johne, Abbottis of vnresson, Quenis of Maij, beis chosin outwith Burgh and vthers landwart townis, the chesars sall pay to our Souerane Lady x pundis, and thair persounis put in waird, thair to remane during the Quenis grace plesoure. And gif ony wemen or vthers about simmer treis singand makis perturbatioun to the Quenis liegis in the passage throw Burrows and vthers landwart townis, the wemen perturbatouris for skafrie of money or vtherwyse salbe takin handellit and put upon the Cukstulis of everie Burgh or towne.’]

_May 4, 1562._ ‘John Kelo, belman, wes accusit in jugement for the passing throw the rewis of the toune with the hand bell, be oppin voce, to convene the haill communitie, or sa mony thairof as wald convene, to pass to the wood to bring in symmer upoun the first Sonday of Maii, contravinand the actis and statutis of the quenis grace, and lordis of consell, eppeirandlie to raise tumult and ingener discord betuix the craftismen and the fre burgessis of gild, and the saidis craftismen to dissobey and adtempt aganis the superioris of the toun, gif it stuid in thair power, as the saidis prowest and baillies ar informit, the said Johnne hawing na command of the saidis prowest and baillies to do the same; and inlykwyise, Alexander Burnat _alias_ Potter wes accusit for passing throw the toun with ane swech, to the effect and occasioun aboun wryttin.’

Previous Next

Comments

The mediaeval stage, volume 2 (of 2)Chapter XXV: Humanism and Mediaevalism (5)

0%34 min left in chapter