The origin of the theatrical representations of the ancients has been
traced back to a Grecian stroller singing in a cart to the honour of
Bacchus. Our European exhibitions, perhaps as rude in their
commencement, were likewise for a long time devoted to pious purposes,
under the titles of Mysteries and Moralities. Of these primeval
compositions of the drama of modern Europe, I have collected some
anecdotes and some specimens.[96]
It appears that pilgrims introduced these devout spectacles. Those who
returned from the Holy Land or other consecrated places composed
canticles of their travels, and amused their religious fancies by
interweaving scenes of which Christ, the Apostles, and other objects of
devotion, served as the themes. Menestrier informs us that these
pilgrims travelled in troops, and stood in the public streets, where
they recited their poems, with their staff in hand; while their chaplets
and cloaks, covered with shells and images of various colours formed a
picturesque exhibition, which at length excited the piety of the
citizens to erect occasionally a stage on an extensive spot of ground.
These spectacles served as the amusements and instruction of the people.
So attractive were these gross exhibitions in the middle ages, that they
formed one of the principal ornaments of the reception of princes on
their public entrances.
When the Mysteries were performed at a more improved period, the actors
were distinguished characters, and frequently consisted of the
ecclesiastics of the neighbouring villages, who incorporated themselves
under the title of _Confrères de la Passion_. Their productions were
divided, not into acts, but into different days of performance, and they
were performed in the open plain. This was at least conformable to the
critical precept of that mad knight whose opinion is noticed by Pope. It
appears by a MS. in the Harleian library, that they were thought to
contribute so much to the information and instruction of the people,
that one of the Popes granted a pardon of one thousand days to every
person who resorted peaceably to the plays performed in the Whitsun week
at Chester, beginning with "The Creation," and ending with the "General
Judgment." These were performed at the expense of the different
corporations of that city, and the reader may smile at the ludicrous
combinations. "The Creation" was performed by the Drapers; the "Deluge"
by the Dyers; "Abraham, Melchisedech, and Lot," by the Barbers; "The
Purification" by the Blacksmiths; "The Last Supper" by the Bakers; the
"Resurrection" by the Skinners; and the "Ascension" by the Tailors. In
these pieces the actors represented the person of the Almighty without
being sensible of the gross impiety. So unskilful were they in this
infancy of the theatrical art, that very serious consequences were
produced by their ridiculous blunders and ill-managed machinery. The
following singular anecdotes are preserved, concerning a Mystery which
took up several days in the performance.
"In the year 1437, when Conrad Bayer, Bishop of Metz, caused the Mystery
of 'The Passion' to be represented on the plain of Veximel near that
city, _God_ was _an old gentleman_, named Mr. Nicholas Neufchatel, of
Touraine, curate of Saint Victory, of Metz, and who was very near
expiring on the cross had he not been timely assisted. He was so
enfeebled, that it was agreed another priest should be placed on the
cross the next day, to finish the representation of the person
crucified, and which was done; at the same time Mr. Nicholas undertook
to perform 'The Resurrection,' which being a less difficult task, he did
it admirably well."--Another priest, whose name was Mr. John de Nicey,
curate of Metrange, personated Judas, and he had like to have been
stifled while he hung on the tree, for his neck slipped; this being at
length luckily perceived, he was quickly cut down and recovered.
John Bouchet, in his "Annales d'Aquitaine," a work which contains many
curious circumstances of the times, written with that agreeable
simplicity which characterises the old writers, informs us, that in 1486
he saw played and exhibited in Mysteries by persons of Poitiers, "The
Nativity, Passion, and Resurrection of Christ," in great triumph and
splendour; there were assembled on this occasion most of the ladies and
gentlemen of the neighbouring counties.
We will now examine the Mysteries themselves. I prefer for this purpose
to give a specimen from the French, which are livelier than our own. It
is necessary to premise to the reader, that my versions being in prose
will probably lose much of that quaint expression and vulgar _naïveté_
which prevail through the originals, written in octo-syllabic verses.
One of these Mysteries has for its subject the election of an apostle to
supply the place of the traitor Judas. A dignity so awful is conferred
in the meanest manner; it is done by drawing straws, of which he who
gets the longest becomes the apostle. Louis Chocquet was a favourite
composer of these religious performances: when he attempts the
pathetic, he has constantly recourse to devils; but, as these characters
are sustained with little propriety, his pathos succeeds in raising a
laugh. In the following dialogue Annas and Caiaphas are introduced
conversing about St. Peter and St. John:----
ANNAS.
I remember them once very honest people. They have often brought
their fish to my house to sell.
CAIAPHAS.
Is this true?
ANNAS.
By God, it is true; my servants remember them very well. To live
more at their ease they have left off business; or perhaps they were in
want of customers. Since that time they have followed Jesus, that
wicked heretic, who has taught them magic; the fellow understands
necromancy, and is the greatest magician alive, as far as Rome itself.
St. John, attacked by the satellites of Domitian, amongst whom the
author has placed Longinus and Patroclus, gives regular answers to their
insulting interrogatories. Some of these I shall transcribe; but leave
to the reader's conjectures the replies of the Saint, which are not
difficult to anticipate.