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painted, that there wordes maye agree with the pictures."

"Sem. Sier, here are lions, libardes, in,

"Horses, mares, oxen and swyne,
"Neates, calves, sheepe and kyne,

"Here sitten thou maye see," &c.

After all the beasts and fowls have been described, Noah thus addresses his wife:

"Noe. Wife, come in, why standes thou there?
« Thou art ever froward, that dare I swere,
"Come in on Godes halfe; tyme it were,
"For fear lest that wee drowne."

"Wife. Yea, sir, set up your saile,
"And rowe forth with evil haile,
For withouten anie faile

"I will not oute of this toune;
"But I have my gossepes everich one,
"One foote further I will not gone:
"They shal not drown by St. John,
"And I may save ther life.

"They loved me full well by Christ:
"But thou will let them in thie chist,
"Ellis rowe forth, Noe, when thou list,
"And get thee a newe wife.”

At length Sem and his brethren put her on board by force, and on Noah's welcoming her, "Welcome, wife, into this boate," she gives him a box on the ear; adding, "Take thou that for thy

note. ""2

Many licentious pleasantries, as Mr. Warton has observed, were sometimes introduced in these reli

It is obvious, that the transcriber of these ancient Mysteries, which appear to have been written in 1328, represents them as they were exhibited at Chester in 1600, and that he has not adhered to the original orthography,

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gious representations. "This might imperceptibly lead the way to subjects entirely profane, and to comedy; and perhaps earlier than is imagined. In a Mystery of The Massacre of the Holy Innocents,3 part of the subject of a sacred drama given by the English fathers at the famous Council of Constance, in the year 1417, a low buffoon of Herod's court is introduced, desiring of his lord to be dubbed a knight, that he might be properly qualified to go on the adventure of killing the mothers of the children of Bethlehem. This tragical business is treated with the most ridiculous levity. The good women of Bethlehem attack our knight-errant with their spinning-wheels, break his head with their distaffs, abuse him as a coward and a disgrace to chivalry, and send him to Herod as a recreant champion with much ignominy.It is certain that our ancestors intended no sort of impiety by these monstrous and unnatural mixtures. Neither the writers nor the spectators saw the impropriety, nor paid a separate attention to the comick and the serious part of these motley scenes; at least they were persuaded that the solemnity of the subject covered or excused all incongruities. They had no just idea of decorum, consequently but little sense of the ridiculous: what appears to us to be the highest burlesque, on them would have made no sort of impression. We must not wonder at this, in an age when courage, devotion, and ignorance, composed the character of European manners; when the knight going to a tornament, first invoked his God, then his mistress, and afterwards proceeded with a safe conscience and great resolution to engage his antagonist. In these Mysteries I have sometimes seen

MSS. Digby 134, Bibl. Bodl.

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gross and open obscenities. In a play of The Old and New Testament, Adam and Eve are both exhibited on the stage naked, and conversing about their nakedness; this very pertinently introduces the next scene; in which they have coverings of fig-leaves. This extraordinary spectacle was beheld by a numerous assembly of both sexes with great composure: they had the authority of scripture for such a representation, and they gave matters just as they found them in the third chapter of Genesis. It would have been absolute heresy to have departed from the sacred text in personating the primitive appearance of our first parents, whom the spectators so nearly resembled in simplicity; and if this had not been the case, the dramatists were ignorant what to reject and what to retain."5

"I must not omit," adds Mr. Warton, " an anecdote entirely new, with regard to the mode of playing the Mysteries at this period, [the latter part of the fifteenth century,] which yet is perhaps of much higher antiquity. In the year 1487, while Henry the Seventh kept his residence at the castle of Winchester, on occasion of the birth of prince Arthur, on a Sunday, during the time of dinner, he was entertained with a religious drama called Christi Descensus ad inferos, or Christ's Descent into Hell. It was represented by the Pueri Eleemosynarii, or choir-boys, of Hyde Abbey, and Saint Swithin's

This kind of primitive exhibition was revived in the time of King James the First, several persons appearing almost entirely naked in a pastoral exhibited at Oxford before the King and Queen, and the ladies who attended her. It is, if I recollect right, described by Winwood.'

seq.

5 Warton's History of English Poetry, Vol. I. pp. 242, et

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• History of English Poetry, Vol. II. p. 206.

VOL. III.

Priory, two large monasteries at Winchester. This is the only proof I have ever seen of choir-boys acting the old Mysteries: nor do I recollect any other instance of a royal dinner, even on a festival, accompanied with this species of diversion." The story of this interlude, in which the chief characters were Christ, Adam, Eve, Abraham, and John the Baptist, was not uncommon in the ancient religious drama, and I believe made a part of what is called the LUDUS PASCHALIS, or Easter Play. It occurs in the Coventry Plays acted on Corpus Christi day,

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7" Except, that on the first Sunday of the magnificent marriage of King James of Scotland with the princess Margaret of England, daughter of Henry the Seventh, celebrated at Edinburgh with high splendour, after dynnar a MORALITE was! played by the said Master Inglyshe and his companions in the presence of the kyng and qweene.' On one of the preceding days, after soupper the kynge and qweene beynge togader in byr grett chamber, John Inglysh and hys companions plaid." This was in the year 1503. Apud. Leland, Coll. iii. p. 300. Append. edit. 1770."

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· See an account of the Coventry Plays in Stevens's Monasticon, Vol. I. p. 238. "Sir W. Dugdale, speaking of the Grayfriars or Franciscans at Coventry, says, before the suppression of monasteries this city was very famous for the pageants that were played therein upon Corpus-Christi day; which pageants being acted with mighty state and reverence by the friers of this house, had theatres for the several scenes, very large and high, placed upon wheeles, and drawn to all the eminent parts of the city, for the better advantage of the spectators. An ancient manuscript of the same is now to be seen in the Cottonian Library, sub. effig. Vesp. D. 8. Sir William cites this manuscript by the title of Ludus Coventriæ; but in the printed catalogue of that library, p. 113, it is named thus: A collection of plays in old English Metre; b. e. Dramata sacra, in quibus exhibentur historia Veteris & N. Testamenti, introductis quasi in scenam personis illic memoratis, quas secum invicem colloquentes pro ingenio fingit poetą. Videntur olim coram populo, sive ad instruendum, sive ad placendum, à fratribus mendicantibus repræsentata. It appears by the latter end of the prologue, that these

and in the Whitsun-plays at Chester, where it is called the HARROWING OF HELL. The representa→

plays or interludes were not only played at Coventry, but in other towns and places upon occasion. And possibly this may be the same play which Stow tells us was played in the reign of Henry IV. which lasted for eight days. The book seems by the character and language to be at least 300 years old. It begins with a general prologue, giving the arguments of forty pageants or gesticulations, (which were as so many several acts or scenes,) representing all the histories of both testaments, from the creation to the choosing of St. Mathias to be an apostle. The stories of the New Testament are more largely expressed, viz. The Annunciation, Nativity, Visitation; but more especially all matters relating to the Passion very particularly, the Resurrection, Ascension, the choice of St. Mathias: after which is also represented the Assumption, and last Judgment. All these things were treated of in a very homely style, as we now think, infinitely below the dignity of the subject: But it seems the gust of that age was not nice and delicate in these matters; the plain and incurious judgment of our ancestors, being prepared with favour, and taking every thing by the right and easiest handle: For example, in the scene relating to the Visitation :

• Maria. But husband of on thyng pray you most mekeley, 'I have knowing that our cosyn Elizabeth with childe is, That it please yow to go to her hastyly,

If ought we myth comfort her, it wer to me blys. 'Joseph. A Gods sake, is she with child, sche?

Than will her husband Zachary be mery.

• In Montana they dwelle, fer hence, so mory the,
In the city of Juda, I know it verily;

It is hence, I trowe, myles two a fifty;

We are like to be wery or we come at the same.
I wole with a good will, blessyd wyff Mary;
'Now go we forth then in Goddys name,' &c.

A little before the resurrection.

Nunc dormient milites, & veniet anima Christi de inferno, cum Adam & Eva, Abraham, John Baptist, et aliis.

• Anima Christi. Come forth, Adam, and Eve with the,
And all my fryndes that herein be,

In paradys come forth with me x
In blysse for to dwelle.

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