[1] In _The Academy_, January 11, 1890.
[2] Manly, _Specimens of the Pre-Shakespearean Drama_, vol. I., p.
xxvii; for examples of dramatic tropes from the _Regularis Concordia
Monachorum_ and the Winchester troper, see pp. xix-xxvi.
[3] _Non novo quidem instituto, sed de consuetudine_, etc., says
_Bulæus, Hist. Univ., Par._ II., 226 (edit. 1665); Collier, _English
Dramatic Poetry, and Annals of the Stage_, I. 14.
[4] In his _Lives of the Abbots of St. Albans_.
[5] In the _Household Book_, Henry VII.; Collier, _Hist._, vol. I, p.
53 n.
[6] _Gesch. des neueren Dramas_, I. 141.
[7] See Wright's _Early Mysteries_, etc., Klein's _Geschichte des
Dramas_, III. 638 _et seq._, Creizenach, _Gesch. d. n. Dramas_, I. 37
_et seq._ Quadrio speaks in his _Storia_, III. ii. 52, of a Pietro
Babyone, an Englishman, who, according to Bale, wrote a Latin comedy in
verse, _c._ 1366.
[8] Ward, I. 52.
[9] Creizenach, I. 101.
[10] Historians of the Church of York, Rolls Series, No. 71, i. 328.
Quoted by A. F. Leach in _Some English Plays and Players_, Furnivall
Miscellany, p. 206.
[11] In Supp. Dods. _Old Plays_, Introd. to _Chester Plays_, ix.;
_Latin Stories_, p. 100.
[12] _An Answer to a Certain Libel, &c._, in Collier, II. 73.
[13] As early as 1304 in Hamburg: Meyer, _Gesch. d. hamburg. Schul- und
Unterrichtswesens im Mittelalter_, S. 197: cited in Creizenach, I. 391.
[14] The Shearmen and Taylors' Pageant, from the _Annunciation_ to
the _Flight into Egypt_ (Ms., 1533), and the Weavers' Pageant of the
_Presentation in the Temple_.
[15] V. XXVI., XXVIII., XXIX., XXX., XXXI., XXXIII.; probably XXXII.
Perhaps this playwright (if we may use the singular) rewrote XXXIV. I
think he remodelled XXXV. and XXXVI., in the old metres.
[16] XXVI., _The Conspiracy_, and IX., _Noah_,--abababab⁴cdcccd³.
[17] XXXVI., _The Mortificacio_,--ababbcbc³d¹eee²d³. VII., _The
Cayme_,--ababbc⁴d¹bcc⁴d².
[18] Y. XI., W. VIII.; Y. XXII., W. XVIII.; Y. XXXVII., W. XXV.;
Y. XXXVIII., W. XXVI.; Y. XLVIII., W. XXX. For particulars see
Miss Lucy Toulmin Smith, Pollard, Hohlfeld's _Die Altenglischen
Kollektivmisterien_, Anglia XI.
[19] Such as stanza 57 in Wakefield XXIX. _Ascension_, and 97-100 in
Wakefield XX. _Conspiracy_.
[20] Cf. stanzas 1 to 4 with those that follow in Wakefield XXII.,
_Fflagellacio_; and stanza 6 of Wakefield XXIV. with those that precede
it; and stanza 58 of Wakefield XXIX. with stanza 57.
[21] XXX. _Judicium_, stanzas 16 to 48, 68 to 76.
[22] XVI. _Herod_.
[23] XX. _a, Conspiracy_.
[24] Stanza 57 might just as well be arranged like stanza 58.
[25] III., XII., XIII., XXI.
[26] Minor passages in the nine-line stanza are II., 35, 36; XXIV.,
1-5, 56-59; XXVII., 4 Passages in a closely similar stanza are XXII.,
1-4; XXIII., 2; XXVII., 30.
[27] _The Towneley Plays_, Introd., p. xxii.
[28] _Die englischen Mysterien, Jahrb. rom. u. eng. Lit._, I. 153.
[29] Ten Brink, _Eng. Lit._ II: i. 306.
[30] I do not forget that belated _Tobias_ at Lincoln, 1564-66, nor the
_Godly Queen Hester_ of 1561; but they have nothing to do with the case.
[31] Rel. _Antiq._ II. 43.
[32] _St. Katharine_ (Dunstable _c._ 1100, Coventry, 1490); _St.
George_ (1415 and later); _St. Laurence_ (Lincoln, 1441); _St. Susanna_
(Lincoln, 1447); _St. Clara_ (Lincoln, 1455); _St. Edward_ (Coventry,
1456 and later); _St. Christian_ (Coventry, 1504); _St. Christina_
(Bethersden in Kent, 1522); _Sts. Crispin and Crispinian_ (Dublin,
1528); _St. Olave_ (London, 1557). Some of these were church plays,
like the _St. Olave_; some, like the _St. Katharine_, were school
plays; some, craft plays, like the _St. Crispin_. It is hard sometimes
to distinguish between the play and the mumming or the mute pageant;
to the dumb show may be assigned some of the _St. Georges_ and the
pageants of Fabyan, Sebastian, and Botulf, displayed, in 1564, by the
religious gild of Holy Trinity (St. Botolph without Aldersgate). For
some conception of the frequency and vitality of such shows one need
only turn to Hone, Stow's _Survey_, the _Records of Aberdeen_, Toulmin
Smith's _English Gilds_, the _History of Dublin_, Davidson's _English
Mystery Plays_, and other books of this kind.
[33] German ballads on the subject in 1337 and 1478. A case similar to
the material of this drama is assigned to 1478 in Train's _Gesch. d.
Juden in Regensburg_, pp. 116-117.
[34] Child, _English and Scotch Popular Ballads_, vol. III., pp. 44,
90, 127, 114.
[35] In his introduction, _Contributions to Early English Popular
Literature_, London, 1849, privately printed.
[36] Warton, _H. E. P._, vol. II., p. 72.
[37] Repr. in Manly's _Specimens_; the former from _Notes and Queries_,
Fifth Series, II. 503-505; the latter from Kelly's _Notices of
Leicester_.
[38] Halliwell's _Contribution to E. Engl. Lit._
[39] British Museum, Add. Mss. 33,418.
[40] Repr. Manly, _Specimens_ from _Folk Lore Journal_, VII. 338-353.
[41] Stow speaks of mummers, "with black visors, not amiable, as if
legates from some foreign prince."
[42] Cf. "Two balls (i.e. _bulls_) from _yonder mountain_ have _laid
me_ quite _low_," with _Golden Legend_, vol. IV., p. 103, Temple
Classics ed. There is no such close similarity in the language of the
Early South English Legendary, Laud Ms., Seint Ieme, and Seint George
(Horstmann, Ed. E.E.T.S., 1887).
[43] _Schauspiele d. engl. Komödianten_, Einl. XCIV.
[44] L. W. Cushman, _The Devil and the Vice_, Halle a. S., 1900.
[45] I remember only Herod and Antichrist outside of the Digby plays
and of the Cornwall cycle (where the devils act as chorus and carry off
everything in sight), and the souls of those already damned who are
claimed by the devils of the Towneley.
[46] Whether the Rewfyn and Leyon of the Co. were Devils, I have my
doubts.
[47] Furnivall, _Digby Plays_, p. 43; ten Brink, _Gesch. engl. Lit._,
II. 320, and Sharp's _Dissertation on the Co. Mysteries_, 1825.
[48] In the _Nigromansir_, and the _Shipwrights' Play_ of Newcastle.
[49] Cushman, p. 66.
[50] Furnivall's ed., Pt. II. 510, 517, 531, 536, 541.
[51] _Wisdom_, _Disobedient Child_.
[52] _Perseverance_, _Mankynd_, _Mary Magdalene_, _Nigromansir_,
_Juventus_, _Like_, _Conflict of Conscience_, _Money_.
[53] _Mankynd_, _Mary Magdalene_, _Juventus_, and _Like_.
[54] _The Witt and Wisdome_, _King Cambyses_, _Like_, and _Horestes_.
[55] _Gesch. d. engl. Dramas_, II., p. 4.
[56] _English Writers_, VII., p. 182.
[57] _Cambyses_; cf. Roister Doister's array.
[58] _Play of Love_; cf. the braggart Crackstone in _Two Ital. Gent._,
much later.
[59] In _Wisdom_ he may be regarded as Vice and Devil (Lucifer) rolled
into one; in _Everyman_ he is probably represented by the friends who
desert the hero in time of need; in the _Disobedient Child_ he is
concrete as the prodigal son.
[60] Furnivall, _Digby Plays_, Forewords, xiii.
[61] Never 'Morality' to our ancestors; that is a futile borrowing from
the French.
[62] _Wisdom_ has only Lucifer; _Nature_ has only Sensuality and minor
Vices; _Pride of Life_ had Devils in all probability, but no Vice, for
Mirth is not one; _Everyman_ has neither.
[63] I see no reason for assuming with Professor Brandl (_Quellen u.
Forschungen_, XXVIII.) that the loss of the navy bound for Ireland,
II. 336-363, has reference to the destruction of the _Regent_ by the
French, 1512.
[64] For some of these see Quadrio, _Della Storia e della Ragione
d'ogni Poesia_, Vol. III., Lib. II., 53 _et seq._
[65] For the substance of this paragraph see the histories of Klein,
Herford, and Creizenach.
[66] _E. Dr. Po._, I. 107, from Gibson's Accounts.
[67] Warton, _H. Eng. Po._ (1871), IV. 323.
[68] Herford, _Lit. Rel._, pp. 107-108.
[69] _History of the Stage_, p. 64.
[70] Brandl, _Quellen_, LXII.; cf. Herford, _Lit. Rel._, p. 156. To
trace the suggestion of the model of Barnabas to the _Studentes_ of
Stymmelius, 1549, is, I think, absurd. It is strange that Creizenach,
_Gesch. d. neu. Dr._, I. 470, should assert, in face of the _Nice
Wanton_ and _The Glasse of Government_, that no English 'moral' avails
itself of _two_ representatives of the human race--a good and an evil.
[71] Brandl, _Quellen_, LXXIII.; and Herford, _Lit. Rel._
[72] _Lit. Rel._, p. 135.
[73] _The English Chronicle Play._
[74] Hawkins, _Engl. Drama_, I. 145, quotes a passage from one of
Latimer's sermons in the presence of Edward VI., which uses the story
of "drave me aboute the toune with a puddynge," referred to in _Lusty
Juventus_.
[75] _The Marriage of Wit and Wisdome._
[76] See below, p. 96.
[77] See below, p. 198. 'Trueman' in the _Historia Histrionica_ (pr.
1699) thinks it was "writ in the reign of K. Edw. VI."
[78] Bodl. Libr., _Malone_ 172, "second impression," London, 1661;
reprinted by F. E. Schelling, Publ. Mod. Lang. Asso., 1900.
[79] _Quellen u. Forschungen._
[80] Not J. Rychardes, as Mr. Fleay has it, _Hist. Stage_, p. 58.
[81] Herford, _Lit. Rel._, p. 156.
[82] Unique original, pub. by Pickerynge and Hacket, 1561, in Duke of
Devonshire's Libr., Chatsworth; repr. by Grosart, _Fuller Worthies
Libr._, vol. IV., _Miscellanies_, 1873.
[83] As _Hester and Abasuerus_, 1594. I see no reason for attributing
the authorship, with Mr. Fleay, to R. Edwardes.
[84] The relation of _The Taming of the Shrew_ to this play is well
known.
[85] _Hist. St._, p. 66.
[86] Brit. Mus. c. 34, g; Collier's _Illustr. O. Engl. Lit._, II. 2;
Brandl's _Quellen_.
[87] Collier, _E. Dram Po._, II. 432; and Ward, _Hist. E. Dr. Lit._, I.
264.
[88] _Hist. E. Dr. Lit._, I. 141.
_John Heywood_