.0^ t^ "- ^ !R ^^' ,^^"- O N O ■«-' yo o > , rAQ^ o ^ ^ C&:.^ ^ .Sv 1 • .*'-^^; '' .A .CV ° " ' -f '^ ^0 • • ' O- \r . » • o *- ^'^^ A ^ .^' ,'^' ^0' 5 -.T.n^ A <^ 'Pj, '■ O H ' i^^ ^0^ ,4q 0' o_ .0 0^ ^o. .0- ' ^ <^ o\ A ^w. > % •^ y S, O y ' '■ ' ' '"" " J, ^^ .-^L, .&' The Star of Bethlehem A MIRACLE PLAY OF THE NATIVITY RECONSTRUCTED FROM (OF THE xnith, XlVth, AND XVth CENTURIES) And Supplemented and Adapted to Modern Conditions BY CHARLES MILLS GAYLEY As composed for Mr. Ben 01*661, and presented by his Company FOX, DUFFIELD AND COMPANY NEW YORK 5 1904 CLASS a--XXo. Na COPY B Copyright, 1904 By FOX, DUPFIELD AND COMPANY The liberty of public performance and control of the same have been legally assigned by the Composer to BEN GREET, and such assignment has been recorded in the office of the Librarian of Congress Published, September, 1904 Printed in America The VniTerslty Press, Cambridge, IT. S. A. OF THE ENGLISH MIRACLE PLAYS IN the miracle plays of our forefathers the mirth, the proverbial philosophy, the social aims, the aesthetic and religious ideals of the Middle Ages still live for us. At first these plays existed as units, each commemorating some episode in the life of Christ or of the saints, or some important fragment of Old Testament history. But gradually they coalesced at this place and that into a cycle (or sequence of anywhere from five to fifty dramatic compositions) covering in one vast survey the whole of sacred history and prophecy, as told in scrip- ture and in ecclesiastical legend, from the Fall of the Angels to the Day of Judgment. The cycle of York stands to one of its component pageants as the minster itself to chapel, cloister, nave or crypt. And the same simple, patient, practical mystics built both cycle and cathedral. If we would [v] know how our fathers Uved and dreamed we should study their temples of dramatic verse as well as their aspirations in stone. In England the germs of these cycles are found, even before the Norman Conquest, in dramatic tropes or paraphrases of the sacred narrative, presented by the clergy in connection with the divine service. Later these efforts at histrionic, and therefore more vivid, presentation of scriptural lessons grad- ually lapsed from the Latin into the English tongue, and from the church to the church- yard or the village green, and from the clerical to the lay actor — and they found in the process ever warmer welcome with the people of the town. During the thirteenth, fourteenth and fifteenth centuries, the trades- unions of those days, — the crafts or gilds of centres like Chester, York, Coventry, W^akefield, Dublin, Digby, Beverley and half a hundred more, — adopted the cycles and presented them, each in its own way, but in their totality and in chronological sequence, in connection with the great fes- tivals of the Christian year. For the day appointed, say that of Corpus Christi, each gild would have its own portion of the dra- matic mystery to prepare. The gild not [vi] only regarded its particular play as a prop- erty or adjunct of the order, but delighted to improvise new scenes or passages and (in earlier days, at any rate) to stand the expense of the performance. One of the York registers shows that the first pageant of the Cycle of Corpus Christi was acted by the Tanners. It was " God the Father making the heavens, angels and archangels, Lucifer and the angels who fell with him into hell." The second pageant, " the creation of the world," was acted by the Plasterers ; the third, " the making of Adam and Eve out of clay of the earth," by the Cardmakers; the fourth, " God forbidding Adam and Eve to eat of the tree of life," by the Fullers ; and so on — fifty-one plays, closing with Doomsday, which was presented by the craft of Mercers. A certain humorous affin- ity of gild and play occasionally leaps to the eye, as when the Shipwrights devote them- selves to the Construction of the Ark, the Fishmongers to the Flood, the Chandlers to the Shepherds and the Star, the Gold- crafts to the Three Kings, the Nailors and Sawyers to the Massacre of the Inno- cents, and the Barbers to the Baptism of Jesus. Each gild was wont to act on a [vii] wheeled platform or " pageant " scaffold ; and the waggons bearing scenery and players made the circuit of the town, stopping the successive repetition of the performance at duly appointed stations, where spectators in huge concourse stood or sat to be edified from dewy morn till eve. The celebration of the Craft Plays was a civic event: in their heyday the supreme social, aesthetic and theatrical amusement of our ancestors. And none the less so because they were origin- ally devotional in character and intention. It must not be supposed, however, that after the industrial crafts had taken them up, these miracles ceased to be cultivated by the clerical and semi-clerical orders, or to be acted in ecclesiastical precincts. The gild of which we first are informed that its func- tions were to cultivate processional and artistic as well as devotional and philan- thropic ends was semi-clerical rather than secular. It is that of the Parish Clerks of London, incorporated by Henry III. about 1240. Of these clerks Hone, in his Ancient Mysteries, says that they were under the patronage of St. Nicholas, and that it was an essential part of their profession, not only to sing, but to read, an accomplishment almost [ viii ] solely confined to the clergy, so that, on the whole, they seem to come under the denomination of a semi-religious frater- nity. " It was anciently customary," Hone tells us, " for men and women of the first quality, ecclesiastics and others who were lovers of church music, to be admitted into this corporation, and they gave large gratui- ties for the support and education of many persons in the practice of that science. Their public feasts were frequent, and cele- brated with song and music." According to W^arton, their profession, employment and character naturally dictated to this spir- itual brotherhood the representation of plays, especially those of the spiritual kind. W^e do not know how early this semi-religious gild took to acting, but it is certain that in 1391 they had been playing cyclic miracles at Skinner's Well (Clerkenwell) for many years, since they enjoyed, at that time and place, the presence of the king, queen and nobles of the realm during a performance which was of great eclat and lasted for three days. In 1409, the Clerkenwell plays were still so popular that *' most part of the nobility and gentry of England" attended during a dramatic cycle which lasted eight [ix] days. It is noteworthy that Stow, the histo- rian, calls these interludes at Skinner's W^ell of 1391 an "example of later time," inform- ing us that " of old time " the Parish Clerks of London were accustomed yearly to as- semble at Clerks' Well, near by, " and to play some large history of Holy Scripture." Since Clerkenwell is mentioned by Fitz- stephen in his description of London as a place frequented by scholars and youth, I think it practically certain that the sacred plays of which he elsewhere speaks as acted in London, between 1170 and 1182, were played then by similar Parish Clerks and at this same place. When, after the reinstitution of the festival of Corpus Christi in 13 11, the miracle plays began to be a function of the gilds, their secularisation, even though the clerks still participated in the acting, was but a ques- tion of time; and the injection of crude comedy was a natural response to the civic demand. Indeed if we consider Comedy in its higher meaning as the play of the indi- vidual achieving his ends, not by revolt but by adjustment to circumstance and conven- tion, the miracle play was in its essence a preparation for comedy rather than tragedy. [X] For the theme of these dramas is, in a word, Christian : the career of the individual as an integral part of the social organism, of the religious whole. So also, their aim : the welfare of the social individual. They do not exist for the purpose of portraying im- moderate self-assertion and the vengeance that rides after, but the beauty of holiness or the comfort of contrition. Herod, Judas and Antichrist are foils, not heroes. The hero of the miracle seals his salvation by accepting the spiritual ideal of the com- munity. These plays contribute in a posi- tive manner to the maintenance of the social organism. The tragedies of life and litera- ture, on the other hand, proceed from secular histories, histories of personages liable to disaster because of excessive peculiarity, — of person or position. Tragedy is the drama of Cain, of the individual in opposition to the social, political, divine ; its occasion is an upheaval of the social organism. The dramatic tone of the miracle cycle is, there- fore, determined by the conservative char- acter of Christianity in general ; the nature of the several plays is, however, modified by the relation of each to one or other of the supreme crises in the biblical history of [xi] God's ways toward man. The plays lead- ing up to, and revolving about, the Nativity are of happy ending, and were doubtless regarded, by authors and spectators, as we regard comedy. The murder of Abel, at first sombre, gradually passes into the comedy of the grotesque. The massacre of the inno- cents emphasises not the weeping of a Rachel, but the joyous escape of the Virgin and the Child. In all such stories the horri- ble is kept in the background or used by way of suspense before the happy outcome, or frequently as material for mirth. Upon the sweet and joyous character of the pageants of Joseph and Mary and the Child it is unnecessary to dwell. Those incorporated in the revival of the ancient drama presented in this volume witness to the quality of the rest. They are of the very essence of comedy. Indeed it must be said that in the old cycles the plays surrounding the Cruci- fixion are not tragedy ; they are specimens of the serious drama, of tragedy averted. The drama of the cross is a triumph. In no cycle does the conswynmatum est close the pageant of the Crucifixion ; the actors announce, and the spectators believe, that this is " Goddis Sone," whom within three [xii] days they shall again behold, though he has been " nayled on a tree unworthilye to die." But though the dramatic edifice con- structed by our mediaeval forbears is Com- edy, it is also divine. And not for a moment did these builders lose their reverence for the House Spiritual that was sacred, nor once forget that the stones which they ignorantly and often mirthfully swung into strange jux- taposition were themselves hewn by Other Hands. The comic scenes of the English Miracle should, therefore, be regarded not as interruptions to the sacred drama, nor as independent episodes, but as counterpoint or dramatic relief. So, in the Second Shep- herds' Play, which affords the comic strand of the present rehabilitation of the miracles, one cannot but remark the propriety of the charm, as well as the dramatic effect, with which the foreground of the sheep-stealing dissolves into the radiant picture of the Na- tivity. The pastoral atmosphere is already shot with a prophetic gleam ; the fulfilment is, therefore, no shock or contrast, but a transfiguration — an epiphany. It is, more- over, to be remembered that such characters and episodes as are comically treated are [ xiii ] of secular derivation, or, if scriptural, of no sacred significance. Thus the comic and the realistic in the poet were set free ; and it is just when he is embroidering the material of mystery with the stammel-red or russet of his homespun that he is of most interest to us. As soon as the plays have passed into the hands of the gilds, the playwright puts himself most readily into sympathy with the literary consciousness as well as the untutored aesthetic taste of his public when he colours the spectacle, old or new, with what is pre- eminently popular and distinctively national. In the minster and out of it, all through the Christian year, the townsfolk of York or Chester had as much of ritual, of scriptural narrative and tragic mystery as they desired, and probably more. When the pageants were acted, they listened with simple cre- dulity, no doubt, to the sacred history, and with a reverence that our age of illumina- tion can neither emulate nor understand ; but we may be sure that they awaited with keenest expectation those invented episodes where tradition conformed itself to familiar life, — the impromptu sallies, the cloth-yard shafts of civic and domestic satire sped by well-known wags of town or gild. Of the [ xiv] appropriateness of these insertions the spec- tators made no question, and the dramatists themselves do not seem to have thought it necessary to apologise for their aesthetic creed or practice. I wish to call especial attention to the author of the play mentioned above as forming the basis of the present dramatic composition. It is a strange thing that to the present day nobody has called him the Father of English Comedy; and still, that he undoubtedly is. In addition to the Secunda Pastorum (or Second Shepherds' Play) he wrote other pageants of the so-called Towneley Cycle amounting to about one- quarter of the whole ; probably six plays, and parts of six or eight more — some four thousand lines. The realistic and humor- ous qualities of his style were unique and singularly suitable to the development of a national comedy. Both for ease of versi- fication and for sense of dramatic effect, he is not unworthy to be mentioned in the same breath with his more distinguished contem- porary Chaucer. To the dramatic composi- tion of his day he, indeed, holds the same relation as that sustained by Chaucer toward the metrical romance. He should be read [XV] in every college and known by every gentle- man to-day. The best of his plays are of course the Noe and the Secunda Pas- torum ; the latter a product of dramatic genius. It stands out English and alone, with its homely wisdom and indigenous figures, — Mak and Gyll and the shepherds, — its comic business, its glow, its sometimes subtle irony, its ludicrous colloquies, its draft of rural manners and morals, its naive and wholesome reverence. With these qualities it occupies a place apart from other plays of cycles, foreign or native, and in its dramatic anticipations, postponements and surprises, is our earliest masterpiece of comic drama. A similar dramatic excellence char- acterises all the plays of this anonymous Playwright of W^akefield (for in "Wakefield the cycle called by the name of the Towne- ley family was acted) as well as the inser- tions made by him in other plays. But he is no more remarkable for his dramatic power than for his sensitive observation, his realistic vigour and his satire. These are manifest in his Buffeting and Scourging of Christ, and in his contribution to the Last Judgment. The poet behind the grimness and the satire is ever the same, sound in [xvi] his domestic, social, political philosophy, constant in his sympathy with the poor, and in his godly fear. If by modernising his verse and combining a play of his with others in such manner as to make a drama suitable to the stage of to-day I may have contributed anything to the resuscitation of his work and name, I shall feel that my labour is well paid. His works are pub- lished in England, in Pollard's edition of the Towneley Plays (Early English Text Society) ; and a further discussion of them may be found in the present writer's His- torical View of Early English Comedy (Representative English Comedies), upon which this account is based. As to The Star of Bethlehem, it attempts to reproduce the material, conditions and at- mosphere of the miracles as far as may be appropriate to modern conditions. It is put together from a number of plays with such callidce jtcncttirce of my own invention as were unavoidable. The " putting together " itself springs from the situation. No one of the old pageants is at the same time of suf- ficient proportions and sufficient unity to hold a modern audience for an afternoon or evening. When Mr. Greet asked me to pre- [ xvii ] pare for him something from the miracle plays, I found it necessary to amalgamate several plays of common focus. Hence, in The Star, the Towneley Offering of the Magi plays almost as important a part as the Secunda Pastorum. I have inter- twined these two, and, for dramatic effect, I have taken the liberty of conveying Kings and Shepherds to the manger at the same time. W^ith these strands I have woven pas- sages from the Towneley Annunciation and Lxizarus, from the York Angels and Shepherds and the Coming of the Three Kings, from the Coventry Corpus Christi Salutation and Conception, Birth of Christ, Adoration of the Shepherds, and Adoration of the Magi, from the Chester Processus Prophetarum and Antichrist, and the Coventry Gild Pageant of the Shearmen and Taylors. I have also made use of the legend of the Three Kings of Cologne, and of other sources which I have not taken pains to record. In their original form, the songs are of the twelfth to the fifteenth centuries and are such as might well have been inserted by improvising craft-players. Like the text of the dramatic materials of The Star, they have been al- [ xviii ] tered only so far as was necessary to make them intelligible to the ordinary auditor. All through I have changed words, lines and sequence ; but only when I could not help it. The materials of course I have arranged with a free hand, and occasion- ally I have had the temerity to put my own words into the mouths of men and angels. But I hope that the spirit of the whole is mediaeval, and the figures and the frame- work and the atmosphere. The great public cannot reach the originals; may it not, however, enjoy even in a reproduction the dramatic art which delighted our forefathers for full five hundred years, and learn some- thing of the simplicity and sublimity of their ancient view of the Mystery that still is modern ? I cannot close without expressing my gratitude to Mr. Ben Greet for many a suggestion in the preparation of this play. I should certainly not have meddled with so sacred a subject had I not been confident that the presentation of the miracle would be wisely entrusted to his exquisite taste and masterly technique. CHARLES MILLS GAYLEY. [xix] Bramatts ^ersionae The Angel (ffiaiiriCl CoU, the First Shepherd ®rS^, the Second Shepherd Jiato, the Third Shepherd SHafe, a. Sheep-Thief ^gU, his 'Wife TJCunCittS, or Messenger of Herod Counsellors of Herod Retinue of the Magi First Magus, Jasper, King of Tars Second Magus, JWelCljior King of Araby Third Magus, i5altJ)afai:, King of Saba The tJirflin |Warg Sosepi) ^nctUa^ or Maidser. {Turning to Mak, ivho sleeps 'vigorously*) Rise, Mak, for shame! Thou lies right lang. [Ihey shake him* JWafe, Now Christ's holy Name be us emang! What is this, for Saint Jame? I may not well gang! I trow I be the same. Ah ! my neck has lain wrang, — 'T is in two ! Mickle thank ! ( To the shepherds ^ho have helped him up*) Since yester even. Now, by Saint Streven, I was flayed with a sweven * — A dream that me slew : I thought Gyll began to croak and travail full sad, — Nigh first crow of the cock, — of a young lad I My porridge is smoking ! ^ nowhere 3 mad * dream [21] For to mend our flocke. Not a whit was I glad : For I Ve tow on my stock ^ more than ever I had. — Ah, my head ! — A house full of young weans. The devil knock out their brains ! Woe is him has such banes, And thereto little bread! I must go home, by your leave, to Gyll, as I thought. I pray you search my sleeve that I steal nought ; — I am loath you to grieve or from you take aught. [Exii MaL HBattJ. Go forth, ill might thou thrive! Now would I we sought This morn, That we had all our store. aS^OlL But I will go before ; Let us meet. Either you or your spouse, so say we. ^alt* Now if ye suppose 't was Gyll or 't was me, I departed * there ^ were ■* suspect [46] Come and rip up our house and then may ye see Who had her. If I 've stolen sow, Bullock or cow, — And Gyll rose not now Sin' first she down laid her. As I am true and leal, to God here I pray That this be the first meal that I shall eat this day. Qx'OU* Mak, by my weal, advise thee, I say! He learned timely to steal that could not say nay. <3f2U. {In agony,) Isweltl^ Out thieves, from my wones ^ ! Ye come to rob us, for the nonce. ilWafe. Hear ye not how she groans? Your hearts should melt. iSfglL Out, thieves, from my bairn, nigh him not thor. J^ai^* Wist ye how she was ta'en, your hearts would be sore. Ye do wrang, I complain, that thus come before To a wife with a wean — but I say no more ! ®^2lL Ah, my middle! I pray to God so mild. If ever I you beguiled. May I eat this child [^Pointing to the sheep. That lies in this cradle! I, Peace, woman, for God's pain, and cry not so ; \_She screams. Thou spills ^ my brain and makes me full woe. ^Sll« I trow our sheep be slain. What find ye two? ' I 'm fainting ! ^ dwelling J injure [47] All work we in vain ; as well may we go. [He makes farther examination. But, {Shearing.) hatters! — I can find no flesh, Hard nor nesh,^ Salt nor fresh, But two empty platters. Of quick - cattle save this, tame or wild, {^Pointing to the cradle. None, I swear by my bliss, as loud as he smiled. ^glL No, so God me bless and give me joy of my child ! Coll. We have marked amiss ;^ {Gi'ving it up,) I hold us beguiled. CSgl). Sir, — done! Sir, our lady him save ! {Pointing to the cradle,) Is 't a wench or a knave? ifttafe. Any lord might him have. This child for his son; When he wakens he grips, 't is a joy but to see — iBdt))* How he smiles with his lips in felicity. But who was his gossips? Come, tell them to me. ^niX, So fair fall their lips ! — (JPoll. Hark now, a lie! ^at. So God them thank, Park5m, and Gybon Waller, I say, And gentle John Home, in good fay, — He that made all the fray. With the great sheep-shank. CSgtJ. {Shaking hands before parting,) Mak, friends will we be, for we are all one. • tender ^ live ^ made a false guess [48] L Wae! now I hold for me, for amends get I none. {Sulking*) Farewell all three! All glad were ye gone. The shepherds pass out, i!BatD« Fair words may there be, but love is there none This year. Coll* Gave ye the child anything? ^gfj. I trow, not one farthing. Iiat0« In again will I fling. {Returning to the cottage , Abide ye me there. Mak, take it to no grief, if I come to thy bairn. ^afe. ( Warding him from the cradle, ) Nay, thou does me great repreve ^ and foul hast thou fame.^ BatU. The child will it not grieve, that little day- stame. Mak, with your leave, let me give your bairn But six-pence. ^afe» Nay, do way; he sleeps. HBatO. {Dra Yea, marry, he hacked^ it; Was no crotchet wrong, nor nothing that lacked it. <3^0U. For to sing us among, right as he knacked * it, I can. (Sr^])* Let see how ye croon ; Can ye bark at the moon? Colt tries to repeat the song " Gle, glo, glas, glum, Gte, glOf glory " / Gyb jeers at him, HatD* Hold your tongues, have done! ^OlL {Trying again,) Hark after, then: — *' Gte, glo, glas/' etc, then they sing ** Terli Terlom),"^ slightly changed from the former -version, — thus : As I out rode this enderes '^ night. Of three joli sheppardes I saw a sight, And all abowte their fold a Star shone bright; — 1 He set all the wood in a lightning. ^ shouted ^ worked it out 4 hit it off * other, recent [573 They sang " terli terlow ; So merreli the sheppards their pipes can blow." [Re f ram of pipes* Doune from heaven, from heaven so hie, Of angeles ther came a companie, — With mirthe and joy and great solemnitye They sange " terly terlowe. So merreli the sheppards their pipes can blow." [Refrain of pipes, aSiS^* To Bedlem he bade that we should gang; I 'm sore afraid that we tarry too lang. liatQ* Be merry and not sad, of mirth is our sang, Everlasting joy for our meed may we fang,^ And no woes. ^OlL Thither therefore, let us hie, — Tho' we be wet^ and wear^, — To see that Child and that Lady We have it not to lose. QSiS'^* We find by the prophecy — (To Colt again attempting the Angel's song:) let be your din — Of David and Isai' and more than I mind. They prophesied by clergy that in a Virgin Should he light and lie, to slacken our sin And slake it, — Save our kind from woe; For Isai' said so: Ecce 'virgo Concipiet a child that is naked. HatO* Full glad may we be and abide that day That Lovely to see, that Almighty's May.- ^ receive ^ maiden [58] Lord, well were me for once and for aye, Might I kneel on my knee some word for to say To that Child. ©^gtJ, But the angel said. In a crib was he laid, He was poorly arrayed. And his Mother mild. They approach the stable, '-. %.o<' 'M^^ "■>. ,*» .v*f V ' -^ 4 rv ^^ <^' %-n^ •/I'^'p- ~' ^^ ->. .-^ 0^ »''_*°' > ^^^ "fe ,^' % <". S>-' c ° " " ^ -"^v k\ 'K '^ ^^ V-^ ¥ o. "oyo' ,0" ^^^ "»',,•' ^,5,^^ S'='^ ^^^ -^^ V "^ V' -^"^ "^^^^ ■ Deacidified using the Bookkeeper process '^ Neutralizing agent; Magnesium Oxide Treatment Date; Jan. 2009 ^ n- ^^-^^^ .^ PreservationTechnologies A WORLD LEADER IN COLLECTIONS PRESERVATION 111 Thomson Park Drive Cranberry Township, PA 16066 (724)779-2111 U^" < A" , « o ^N^,\ 'ov^ r-^ ^ V , s • » /• rrw