The Growth of English Drama | Page 4

The same author composed a Mystery of Lazarus, and an elaborate representation of Daniel, which must have made large demands on the Church's supply of 'stage properties'. But his St. Nicholas is the only one that interests us here. To begin with, the title informs us that the subject is not drawn from the Bible. The words, therefore, are at the discretion of the author. Further, though the medium is mostly Latin, the native language of the spectators has been slipped in, to render a few recurrent phrases or refrains. The story is quite simple, and humorous, and is as follows:
The image of St. Nicholas stands in a Christian church. Into the church comes a pagan barbarian; he is about to go on a long journey, and desires to leave his treasure in a safe place. Having heard of the reputation of St. Nicholas as the patron of property, he lays his riches at the foot of the statue, and in four Latin verses of song commits them to the saint's safe-keeping. No sooner is he gone, however, than thieves steal in silently and remove the booty. Presently the barbarian returns, discovers his loss, charges the image with faithlessness, and, snatching up a whip, threatens it with a thrashing if the treasure is not brought back. He withdraws, presumably, after this, to give St. Nicholas an opportunity to amend matters. Whereupon one representing the real celestial St. Nicholas suddenly appears, perhaps from behind a curtain at the rear of the image, and seeks out the thieves. He threatens them with exposure and torment unless they restore their plunder; they give in; and St. Nicholas goes back to his concealment. When the barbarian returns, his delight is naturally very great at perceiving so complete an atonement for the saint's initial oversight. Indeed his appreciation is so genuine that it only needs a few words from the reappearing Saint to persuade him to accept Christianity.--Monologue and dialogue are throughout in song. The following is one of the three verses in which the barbarian proclaims his loss; the last two lines in the vernacular are the same for all.
Gravis sors et dura! Hic reliqui plura, Sed sub mala cura. Des! quel dommage! Qui pert la sue chose purque n'enrage.
A play of this sort, dealing with the wonder-working of a Saint, became known as a Miracle Play, to differentiate it from the Mystery Plays based on Bible stories.
St. Nicholas would be performed in a church. But there is a probably contemporaneous Norman Mystery Play, Adam, of unknown authorship, which shows that the move from the church to the open air was already being made. This play was performed just outside the church door, and though the staging remains a matter of conjecture, it may be reasonably assumed that the church represented Heaven, and that the three parts of a projecting stage served respectively as Paradise (Eden), Earth, and Hell (covered in, with side doors). The manuscript of the play (found at Tours) supplies careful directions for staging and acting, as follows:
A Paradise is to be made in a raised spot, with curtains and cloths of silk hung round it at such a height that persons in the Paradise may be visible from the shoulders upwards. Fragrant flowers and leaves are to be set round about, and divers trees put therein with hanging fruit, so as to give the likeness of a most delicate spot. Then must come the Saviour, clothed in a dalmatic, and Adam and Eve be brought before him. Adam is to wear a red tunic and Eve a woman's robe of white, with a white silk cloak; and they are both to stand before the Figure (God), Adam the nearer with composed countenance, while Eve appears somewhat more modest. And the Adam must be well trained when to reply and to be neither too quick nor too slow in his replies. And not only he, but all the personages must be trained to speak composedly, and to fit convenient gesture to the matter of their speech. Nor must they foist in a syllable or clip one of the verse, but must enounce firmly and repeat what is set down for them in due order. Whosoever names Paradise is to look and point towards it.[1]
Glancing through the story we find that Adam and Eve are led into Paradise, God first giving them counsel as to what they shall and shall not do, and then retiring into the church. The happy couple are allowed a brief time in which to demonstrate their joy in the Garden. Then Satan approaches from Hell and draws Adam into conversation over the barrier. His attempt to lure Adam to his Fall is vain, nor is he more successful the first time with Eve. But as a serpent