Read the Extract Below and Answer the Questions

READ THE EXTRACT BELOW AND ANSWER THE QUESTIONS.

1) What were the folk plays?

2) Where did the real drama of the Middle Ages grow up?

3) Could common people understand the Mass? Why?

4) How did the priests make the services more meaningful for the masses?

5) Why did the priests have to dramatize some episodes from the Bible?

6) What episode was dramatized first? How?

7) What is the name of these early performances?

8) Why did they move outside the churches?

9) How did they change when they moved outside the churches?

10) Who took over the management of these plays?

11) Did the Church authorities still approve of them?

12) What were the plays about in later times? Were they still wholly religious?

13) How were they performed?

14) What was the pageant like?

15) Were the scenery and stage properties rich?

16) What about the costumes?

17) How were the plays written? Were they refined works of art?

18) Why were they influential, then?

19) What were the Morality Plays?

20) What were the Interludes?

21) How did Medieval Drama influence later forms of drama?

Medieval Drama: An Introduction to Middle English Plays

Folk Plays, Mystery Plays, Morality Plays, Interludes.

FOLK PLAYS
In the Middle Ages and almost in the present time, in some remote parts of England, folk plays usually consisted in energetic dances (Morris dances, they came to be called, through confusion with Moorish performances of the same general nature). Some of them had a slight thread of dramatic action mixed with rough-and-tumble fighting and buffoonery,

Their characters gradually became conventional and even famous figures of popular tradition, such as St. George, Robin Hood, Maid Marian, and the Green Dragon.

The folk-play gave rise to several forms of entertainment, like the 'mummings' and 'disguisings'; they were forms of processions, shows, and other entertainments; some of them, particularly popular among the upper classes, were the precursors of the Elizabethan Mask, in which a group of people in disguise, invited or uninvited, attended a formal dancing party.

In the later part of the Middle Ages, there were the secular pageants too, spectacular displays given on such occasions as when a king or other person of high rank made formal entry into a town. They consisted of an elaborate scenic background set up near the city gate or on the street, with figures from allegorical or traditional history who engaged in some pantomime or declamation, but with very little dramatic dialogue.

The real drama of the Middle Ages, however, grew up, without design and by the mere nature of things, from the regular services of the Church.
TROPES, LITURGICAL PLAYS, AND MYSTERY PLAYS.
During all the Middle Ages the church service, the mass, was mostly attended by masses of ignorant people, who has an unquestionable but quite superficial faith, and who were very easily inflamed by good preachers. Since the Mass was in Latin, they understood nothing of it; and of the Bible story they had only a very general impression.

Therefore, the priests had to give the Mass a strongly spectacular and emotional character if they wanted the great masses of people to understand it, at least in part.

The churches themselves were spectacular and awe-inspiring. They were the finest buildings of the time, huge, with lofty pillars and shadowy corners, rich in sculptured stone and in painted windows.

The Mass was in great part musical, with choir and organ; the priests, too, struck the imaqination of the ignorant crowds that attended the mass: they were richly dressed, and made their processions along the isles in clouds of incense, or read the Bible stories showing painted rolls which vividly pictured the principal events of the day's lesson.

However, the priests realized that the ignorant and superstitious audience still missed most of the lessons they wanted to bring home, and so the process of dramatizing the services accidentally and slowly began. The first episode that was dramatized was the story of Christ's resurrection.

The earliest steps were very simple. First, during the ceremonies on Good Friday, the day when Christ was crucified, the cross which stood all the year above the altar, bearing the Saviour's figure, was taken down and laid under the altar, a dramatic symbol of the Death and Burial; two days later, that is on Easter Sunday, while the story of the Resurrection was chanted by the choir, the cross was uncovered and put back into place. Next, the Gospel dialogue between the angel and the three Marys at the tomb of Christ was sometimes chanted by the choir in those responses which are called "tropes":
Whom seek ye in the sepulcher, O Christians?
Jesus of Nazareth the crucified, O angel.
He is not here; he has arisen as he said. Go,
announce that he has risen from the sepulcher.'
After this a little dramatic action was introduced. One priest dressed in white robes represented the angel, and three others, representing the Marys, advanced slowly toward him while they chanted their portion of the same dialogue.
Little by little, probably, as time passed, this Easter scene was further enlarged, in part by additions from the closing incidents of the Saviour's life. A similar treatment, too, was being given to the Christmas scenes, which were combined, and presented at any season of the year. Other Biblical scenes, as well, came to be enacted, along with other stories from Christian tradition, such as that of Antichrist and the lives of Christian saints.

These compositions are called Liturgical Plays, because they formed, in general, a part of the church service (liturgy).

Some of them were united into extended groups and the interest of the congregation became greater and greater; the churches began to seem too small and the excited audiences were often too noisy; thus the performances were transferred to the churchyard, and then to the market place, the village-green, or any convenient field.

By this time Latin was replaced at first, perhaps, and in part, by French, but finally by English.

Then, the religious spirit was inevitably replaced by that of merrymaking, so minstrels and mountebanks began to flock to the celebrations; regular fairs began to grow up about them.

Gradually, too, the priests lost their hold even on the plays themselves; skilful actors began to take many of the parts; and, at last, in some towns the trade-guilds, or unions of the various handicrafts, which had secured control of the town governments, assumed entire charge of the performances.
In 1311 a new impetus was given to the whole ceremony by the establishment of the late spring festival of Corpus Christi, a celebration of the doctrine of transubstantiation. On this occasion, or sometimes on some other festival, it became customary for the guilds to present an extended series of the plays, a series which together contained the essential substance of the Christian story, and therefore of the Christian faith.

The Church generally still encouraged attendance, On one occasion the Pope promised the remission of a thousand days of purgatory to all people who should be present at the Chester plays, and to this exemption the bishop of Chester added sixty days more.

The list of plays thus presented commonly included: The Fall of Lucifer; the Creation of the World and the Fall of Adam; Noah and the Flood; Abraham and Isaac and the promise of Christ's coming; a Procession of the Prophets, also foretelling Christ; the main events of the Gospel story, with some additions from Christian tradition; and the Day of Judgement.

The longest cycle now known is the York one; it contained, when fully developed, fifty plays, or perhaps even more. Generally each play was presented by a single guild, and sometimes, though not always, there was a link between the Guild's trade and the subject of the play, as when the watermen gave the play of Noah's Ark or the bakers that of the Last Supper.

These groups of plays are called the Mystery or Miracle Cycles.

Each cycle was focussed on the spiritual history and the final judgement of all Mankind, but sometimes comedy and farce were added, to meet the coarse taste of the audience. Sometimes, in the later period, original and very realistic scenes from actual English life were added, More often comic treatment was given to the Bible scenes and characters themselves.

Noah's wife, for example, was usually presented as a shrew, who would not enter the ark until she had been beaten into submission; and Herod always appears as a blustering tyrant, whose fame still survives in a proverb of Shakespeare's coinage—'to out-Herod Herod.'

The manner of presentation of the cycles changed a lot from town to town.

Sometimes the entire cycle was was performed in just one place, like the market-place or some other central square; but often, to accommodate the great crowds, there were several 'stations' at convenient intervals.

In that case each play might remain all day at a particular station and be continuously repeated as the crowd moved slowly by; but more often it was the spectators who remained, and the plays, mounted on movable stages, the 'pageant'-wagons, were drawn from one station to another. The common people usually stood in the square on all sides of the stage, while people of higher rank or greater means were seated on temporary wooden scaffolds or looked down from the windows of the adjacent houses.

The 'pageant' had a main floor, or stage, and below there was a curtained dressing-room for the actors; and when the play required, a 'Hell-Mouth,' a great and horrible human head, which gave out flames and fiendish cries, was attached to one side.

The scenery and stage properties were essential: a small raised platform or pyramid might represent Heaven, where God the Father was seated, and from which the angels came down; a single tree might indicate the Garden of Eden. Instead, the costumes were often rich and elaborate.

All the plays of the cycle were commonly performed in a single day, beginning, at the first station, perhaps as early as five o'clock in the morning; however, some performances could last three days or even more.

The plays were a very serious matter for the guilds. Often each guild had its own 'pageant-house', where it stored its 'properties,' and a pageant-master who trained the actors and imposed substantial fines on members who did not cooperate.

The plays were always composed in verse. The stanza forms used differed widely even within the same cycle. The quality of the verse was quite poor. The medieval lack of historic sense gave all the plays the setting of the authors' own times; Roman officers appear as feudal knights; all the heathens (including the Jews) are Saracens, worshippers of 'Mahound' and 'Termagaunt',

The frank coarseness of the plays is often merely disgusting, and suggests how superficial, in most cases, the medieval religious sense was.

There was great emphasis on the fear of hell rather than on the love of righteousness. The plays could in fact be quite grotesque and unrefined, but they certainly fulfilled their religious purpose and exercised on the whole an elevating influence.

THE MORALITY PLAYS.

The Mystery Plays seem to have reached their greatest popularity in the fourteenth and fifteenth centuries, although they survived until the seventeenth century.

The Morality Play probably arose in part from the desire of religious writers to teach the principles of Christian living in a more direct and effective way. In its strict form the Morality Play was a dramatized moral allegory. It was in part an offshoot from the Mysteries, which had indeed some abstract allegorical figures, either good or bad, such as The Seven Deadly Sins.

In the Moralities most characters are of this sort, and the hero is generally a type-figure standing for all Mankind, torn between Good and Evil.

THE INTERLUDES.

Early in the sixteenth century, the Morality in its turn was largely replaced by another sort of play called the Interlude. But just as in the case of the Mystery and the Morality, the Interlude developed out of the Morality, and the two cannot always be distinguished. The typical Interlude is often nothing more than a coarse farce, with no specific religious or ethical meaning. The name Interlude denotes literally 'a play between,' but the meaning intended (between whom or what) is uncertain. The plays were given sometimes in the halls of nobles and gentlemen,during banquets, in the town halls or on village greens. The actors were sometimes strolling companies of players, who might be minstrels or low-class people. In the Interlude-Moralities and Interludes The Vice first appeared; he was a rogue who summed up in himself all the Vices of the older Moralities and served as the buffoon. Transformed by time, the Vice appears in the Elizabethan drama, and thereafter, as the clown.

THE LATER INFLUENCE OF MEDIEVAL DRAMA.

The various dramatic forms from the tenth century to the middle of the sixteenth—folk-plays, mummings and disguisings, secular pageants, Mystery plays, Moralities, and Interludes—have a historical importance. They witness the popular demand for drama, and they formed certain stage traditions which were to modify or largely influence the great drama of the Elizabethan period and to some extent of later times.

Some of their features were the disregard for unity, partly of action, but especially of time and place; the mingling of comedy with tragedy; the nearly complete lack of stage scenery, which left the audience free to use their imagination; the presence of certain stock figures, such as the clown; and the presentation of women's parts by men and boys.