Part 23

_Deus._ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

NOTES.

Page 1, line 6. With pleys ful glad.] In the _Promptorium Parvulorum_ is given the following curious analysis of the different kinds of plays and players:—“Pley, ludus; pley, or somyr game, spectaculum; pley that begynnythe with myrthe and endythe with sorowe, tragedia; pley that begynnythe with sorow and endythe with myrthe, comedia; pleyare, lusor; pleyare that alwey wyl pley, ludibundus; pleyar at the bal, pililudius; pleyyng garment, ludix; pleyyng place, diludium.”—MS. Harl. 221, fol. 129. Chaucer gives us the same definition of tragedy in the prologue to The Monkes Tale:—

Tragedie is to sayn a certain storie, As olde bookes maken us memorie, Of him that stood in gret prosperitee, And is y-fallen out of high degree Into miserie, and endeth wretchedly.

P. 9, l. 17. Mevelyd.] So in the MS., but probably it ought to be _mervelyd_.

P. 17, l. 10. Dele the comma after the word _dwere_.

P. 19. THE CREATION.] Bagford has preserved in MS. Harl. 5931, v. 13, a printed bill of the latter end of the seventeenth century, wherein it is stated that “at Crawley’s show at the Golden Lion, near St. George’s Church, during the time of Southwark-fair, will be presented the whole story of the old creation of the world, or Paradice Lost, yet newly reviv’d, with the addition of Noah’s flood.” See Strutt’s _Sports and Pastimes_, ed. Hone, p. 166. The specimen 272 in the same volume is still more curious, and shows that the performances of mysteries, howbeit in a very different state, were continued in England up to a much later period than is usually believed: —

“_By Her Majestie’s permission._ At Heatly’s booth, over against the Cross Daggers, next to Mr. Miller’s booth, during the time of Bartholomew-Fair, will be presented a little opera, called _The old creation of the world_, newly reviv’d, with the addition of the glorious battle obtained over the French and Spaniards by his Grace the Duke of Marlborough. The contents are these:—

1. The creation of Adam and Eve.

2. The intreagues of Lucifer in the garden of Eden.

3. Adam and Eve driven out of paradice.

4. Cain going to plow, Abel driving sheep.

5. Cain killeth his brother Abel.

6. Abraham offering his son Isaac.

7. Three wise men of the East guided by a star, who worship him.

8. Joseph and Mary flew away by night upon an ass.

9. King Herod’s cruelty; his men’s spears laden with children.

10. Rich Dives invites his friends, and orders his porter to keep the beggars from his gate.

11. Poor Lazarus comes a begging at rich Dives’s gate, and the dogs lick his sores.

12. The good angel and death contend for Lazarus’s life.

13. Rich Dives is taken sick and dieth. He is buried in great solemnity.

14. Rich Dives in hell, and Lazarus in Abraham’s bosom, seen in a most glorious object, all in machines descending in a throne, guarded with multitudes of angels, with the breaking of the clouds, discovering the palace of the sun, in double and treble prospects, to the admiration of all spectators. Likewise several rich and large figures, with dances, jiggs, sarabrands, anticks, and country dances between every act: compleated with the merry humours of Sir John Spendall and Punchanello, with several other things never yet exposed. Perform’d by Mat. Heatly. Vivat Regina!”

In Braithwayte’s “Strapado for the Devil,” 8vo. Lond. 1615, p. 161, there is an allusion to the performance of Mysteries in London in ancient times:—

“Saint Bartlemews, where all the pagents showne, And all those acts from Adam unto Noe Us’d to be represent.”

P. 19, l. 1. Ω.] In MS., _oo_.

P. 22, l. 8. And make the man Adam.] A marginal note on the verso of fol. 74 informs us that Adam was created on the tenth of the calends of April.

P. 27, l. 24. For to hide.] Dr. Marriott, the editor of _A Collection of English Miracle Plays_, 8vo. Basel, 1838, quotes a play entitled, _The Travailes of the three English Brothers_, 4to. Lond. 1607, to show that an exact representation of the primitive state of our forefathers in the garden of Eden was exhibited on the English stage “as late as the close of the sixteenth century.” This is an absurd misrepresentation, and has been founded on an erroneous interpretation of a passage in the play above-mentioned, which is spoken by Kemp, the actor, in a conversation with Sir Anthony Sherley. According, however, to one of the stage directions in the Chester Mysteries, Adam and Eve _stabunt nudi et non verecundabuntur_; so that, joined with the present passage in the Coventry Mysteries, there is at least some ground for believing that such was actually the case at an earlier period.[11]

Dr. Marriott’s mistake has been already noticed by the Rev. A. Dyce, in his interesting introduction to Kemp’s _Nine Daies Wonder_, reprinted for the Camden Society, p. xv; and I take the opportunity of introducing in this place some particulars relating to Kemp, which throw a new light upon his history, more especially in relation with the above-mentioned play, and proves that the introduction of the comic actor, and his interview with Sherley, was strictly founded upon fact. The authors of the play, indeed, assert in their prologue their intention of

“Clothing our truth within an argument, Fitting the stage and your attention; Yet not so hid but that she may appeare To be herselfe, even truth.”

But dramatic critics have not given much credit to these professions of honesty. Mr. Dyce even doubts the fact of Kemp having made a journey on the continent, and considers the notice in _The Returne from Pernassus_ of his “dancing the morrice over the Alpes,” to be only a “sportive allusion to his journey to Norwich.” In his _Nine Daies Wonder_, however, he announces his intention of setting out shortly on a “great journey,” and in his dedication he seems to allude to a projected journey to Rome. I have recently discovered a passage in a contemporary diary, which proves that Kemp actually met with Sir Anthony Shirley at Rome, and that his “great journey” was not a very profitable speculation. It is as follows:—“1601, Sept. 2. Kemp, mimus quidam, qui peregrinationem quandam in Germaniam et Italiam instituerat, post multos errores et infortunia sua reversus: multa refert de Anthonio Sherly equite aurato, quem Romæ (legatum Persicum agentem) convenerat.”—MS. Sloan. 392, fol. 401. William Parry, who was with Shirley in Russia, returned to England in the middle of September, 1601, as we learn from the account published by Hackluyt; and it is therefore very probable that Kemp was the first who brought the news of his proceedings in Persia and Russia. An account of Shirley’s adventures was published at London in 1613, and a very circumstantial relation by Manwaring is in MS. Sloan. 110, but neither of these contain the slightest notice of Kemp’s interview with the ambassador. What we have given above is, however, quite sufficient to establish its truth, and “the travell to Rome with the return in certain daies,” mentioned in Rowley’s _Search for Money_, 1609, doubtlessly alludes to the same circumstance: and would also seem to imply that he had accomplished his homeward journey in a short time. Mr. Rimbault has also kindly favoured me with a copy of the following song from an old MS. in his possession by Thomas Weelkes, entitled, _Ayres or fantasticke spirites_, which was printed with some variations in 1608:

“Since Robin Hood, Maid Marian, And little John are gone-a, The hobby-horse was quite forgot, When Kempe did dance alone-a. He did labour after the tabor For to dance: then into France He tooke paines To skip it; In hope of gaines He will trip it, On the toe, Diddle, diddle, doe.”

[11] John of Salisbury thus complains of the indelicacy of actors:—“Quorum adeo error invaluit, ut a præclaris domibus non arceantur, etiam illi qui obscenis partibus corporis, oculis omnium eam ingerunt turpitudinem, quam erubescat videre vel Cynicus.”—_De Nugis Curialium_, lib. i. cap. 8, edit. 1639, p. 34.

P. 31, l. 8. Flammea.] Sic in MS. pro _flammeo_.

P. 37, l. 8. Showe.] So in MS., but perhaps _shove_, which would complete the rhyme.

P. 38, l. 28. Never.] This word is added to the MS. in a more recent hand.

P. 46, l. 28. This schypp for to make.] A marginal note informs us that “Noe schyp was in lenght ccc. cubytes, in brede ffyfty, and the heythe thretty: the flode 15. above hyest montayne.”

P. 59, l. 16. Perhaps this line would be more properly printed thus:—

“What is your wylle, Lord, fayn wold I wete.”

P. 59, l. 30. The comaundment of thi Lord God.] It is almost unnecessary to remark that this and the following line are quite distinct from the stanza, and are intended as a translation of the Latin given above.

P. 61, l. 1. Assumens.] Sic in MS. pro _assumes_.

P. 61, l. 19. Sanctificet.] Sic in MS. pro _sanctificetur_.

P. 62, l. 32. Makaberis.] Sic in MS. pro _mæchabaris_.

P. 64, l. 6. Bos.] Sic in MS. pro _bovem_.

P. 65, l. 13. For to dwelle.] Add a semicolon at the end of this line.

P. 70. THE BARRENNESS OF ANNA.] This pageant is founded on the apochryphal gospel of the Birth of Mary. The same story is also found in the Protevangelion of James.

P. 73, l. 27. Catando.] Sic in MS. pro _cantando_.

P. 75, l. 10. Offens.] Place a colon after this word.

P. 79. MARY IN THE TEMPLE.] This pageant is also founded on the apochryphal gospel of the Birth of Mary.

P. 81, l. 22. Explexendo.] Sic in MS. pro _amplexendo_.

P. 83, l. 28. For.] Perhaps _fere_.

P. 84, l. 29. Dele the comma after the word “bretheryn.”

P. 88, l. 13. In your name Maria.] Lydgate, in MS. Harl. 2255, fol. 141, has given three similar acrostics of the name of the blessed Virgin.

P. 90, l. 1. Ab Ysakar.] Sic in MS. pro _Abysakar_. This pageant was privately printed by Mr. Collier, 12mo. Lond. 1836. The argument is taken from the apochryphal gospel of the Birth of Mary. Lydgate, in the fifth chapter of his Life of the Virgin, introduces the chief incidents here employed.

P. 94, l. 29. So.] Perhaps _yow_.

P. 94, l. 31 to p. 95, l. 22. This is added to the MS. in a more recent handwriting.

P. 97, l. 20. Episcopus comyth, thens Joseph.] Owing to this line being inserted in the MS. as a stage direction, and the deficiency of the metre, it has been arranged erroneously. It should be as follows:—

_Episcopus._ Comyth thens. _Joseph._ Sere, he may evyl go, &c.

P. 99, l. 13. Foreschyth.] So in MS. for _floreschyth_.

P. 101, l. 8. Sere, xalle ffulffyl.] The pronoun _I_ is probably omitted before the word _xalle_.

P. 105. THE SALUTATION AND CONCEPTION.] Part of the argument of this pageant may be found in the apocryphal gospel of the Birth of Mary. The incident of the council of the Trinity is given in the _Speculum Vitæ Christi_, and in Lydgate’s Life of the Virgin.

P. 105, l. 22. Babys.] Probably _balys_.

P. 112, l. 16. This name Eva is turnyd Ave.] Compare MS. Harl. 2255, fol. 140, a poem in praise of the Virgin:

Heyl sterre of Jacob, glorie of Israelle! Eva transfformyd the lettrys wel out sought; Into thy closet whan that Gabryelle With this wourd Ave hath the tydynges brought.

P. 113, l. 17. But I aske it xal be do.] The word _how_ has probably been omitted after _aske_.

P. 114, l. 31. Bemys.] Mr. Collier, Hist. Dram. Poet. ii. 176, writes _bennys_, and considers that the word means _benedicites_. I confess I do not see the necessity of such an explanation, for it appears simply to signify _beams_, and there was doubtlessly some contrivance to represent them on the stage.

P. 117. JOSEPH’S RETURN.] This pageant is founded upon the apochryphal gospel of the Birth of Mary.

P. 124. THE VISIT TO ELIZABETH.] This pageant is founded upon the Protevangelion of James.

P. 130, l. 12. Leve.] Dele the semicolon after this word.

P. 131. THE TRIAL OF JOSEPH AND MARY.] This pageant is likewise founded upon the narrative in the Protevangelion of James.

P. 131, l. 6. Alle the rowte.] The subsequent enumeration of names was obviously inserted, observes Mr. Collier, “for the sake of producing merriment among the spectators.” A somewhat similar list of names occurs in _Cocke Lorelles Bote_, among which I find two, viz., Pers Potter and Phyllyp Fletcher, that are also in this list. Hone, Marriott, and Collier, who have quoted this very singular part of these mysteries, place it at the end of the preceding pageant, but the reason for the change I have made will be sufficiently obvious on perusal.

P. 131, l. 25. And loke ye rynge wele in your purs.] This is important, as showing that money was collected for the performances. The author of a very curious sermon against miracle-plays generally, in a MS. of the fourteenth century, preserved in the parish library of St. Martin’s in the Fields, expressly complains of the money that was spent in this manner:—“So this myraclis pleyinge is verré witnesse of mennus averice and coveytise byfore, that is maumetrie, as seith the apostele, for that that thei shulden spendyn upon the nedis of ther neyeboris, thei spenden upon the pleyis, and to peyen ther rente and ther dette thei wolen grucche, and to spende two so myche upon ther pley thei wolen nothinge grucche. Also to gideren men togidere to bien the derre ther vetailis, and to stiren men to glotonye, and to pride and boost, thei pleyn thes myraclis, and also to han wherof to spenden on these myraclis, and to holde felawschipe of glotonye and lecherie in sich dayes of myraclis pleyinge, thei bisien hem beforn to more gredily bygilen ther neybors, in byinge and in sellyng; and so this pleyinge of myraclis now on dayes is werré witnesse of hideous coveytise, that is maumetrie.”—_Reliquiæ Antiquæ_, vol. ii., p. 54.

P. 135, l. 13. To set a cokewolde on the hye benche.] This appears to be an allusion to the old ballad of _The Cokwoldes Daunce_, or similar production. King Arthur was represent as giving the first place at table, or a seat on the high bench on the daïs, to men of this order—

“Than seyd thei all at a word, That cokwoldes schuld begynne the bord, And sytt hyest in the halle.”

The _Cokwoldes Daunce_ is printed in Von Karajan’s Frühlingsgabe, 12mo. Vienna, 1839.

P. 137, l. 15. “Fayr chylde, lullay,” sone must she syng.] Lullay is a very common burden to the old nursery songs, one of the oldest of which is preserved in MS. Harl. 913, and has been printed by Ritson. Sharp has printed the following, which, as belonging to a Coventry pageant, will be appropriately introduced in this place:—

Lully, lulla, thow littell tiné child; By, by, lully, lullay, thow littell tyné child: By, by, lully, lullay. O, sisters too, How may we do For to preserve this day This pore yongling, For whom we do singe By, by, lully, lullay.

Herod the king, In his raging Chargith he hath this day His men of might, In his owne sight, All yonge children to slay.

That wo is me, Pore child for thee, And ever morne and say. For thi parting, Nether say nor singe By, by, lully, lullay.

P. 139, l. 16. Now, sere.] This line ought to be pointed thus,

“Now, sere, evyl thedom com to thi snowte!”

The ignorant transcriber of the MS. has written “Thedom” as a proper name, which is an evident absurdity.

P. 140, l. 30. Whylle that it dede snow.] The story of the child of snow was very popular in the middle ages, and is often alluded to. It is briefly told in Latin verse by Geoffrey de Vinsauf, Nov. Poetr. ap. Leyser, Hist. Poet. Med. Æv. pp. 901, 903; and at greater length in a French fabliau of the thirteenth century, printed in the collection of Méon, tom. iii. p. 215, analysed in Legrand d’Aussy, tom. iii. p. 84. It occurs at a later period in the celebrated collection, entitled _Les Cent Nouvelles Nouvelles_ (ed. Le Roux de Lincy, Paris, 1841, tom. i. p. 153), and in many other similar works composed in Italy and France.

P. 145. THE BIRTH OF CHRIST.] The Protevangelion of James is the authority for this pageant.

P. 146, l. 1. It is clepyd a chery tre.] This fable of the cherry tree is the subject of a well known Christmas carol, which has been printed by Hone, _Ancient Mysteries Described_, p. 90. See also Collier’s Hist. Dram. Poet. vol. ii. p. 179.

P. 153, l. 2. Ulverando.] Sic in codice MS., sed forte _ululando_.

P. 158, l. 29. This songe begynne.] In old miniatures the shepherds are often represented playing on bagpipes.

P. 168, l. 13, to p. 170, l. 31. This is added to the original manuscript in a more recent hand.

P. 192, l. 9. Lyke as the sunne doth pers the glas.] “He lyted within her as the sonne-shyne thurgh the glas.”—MS. Sloan. 3160, fol. 38.

P. 199, l. 1, to p. 200, l. 30. This is added to the manuscript in a more recent hand.

P. 199, l. 8. He.] Probably _ye_.

P. 199, l. 24. Ys.] Probably _your_.

P. 210, l. 5. I xal the shewe many a ceté.] It will be observed that, in the enumeration of countries which follows, Ireland, Scotland, and Wales are mentioned, with the omission of England, a proof, perhaps, that the writer had transferred the scene of action into his own country.

P. 217, l. 9. Indeploydo.] So in MS. for _in diploide_, a Latinized form from the Greek word διπλοις, a double robe; see Glos.

P. 222, l. 17. Jhesus.] This is erased in the MS., and the word “doctor” substituted in a more recent hand.

P. 235, l. 28. Ther he doth lyve in cave.] For _lyve_ read _lyne_. The same expression occurs at p. 227, l. ult.

P. 239, l. 16. Berere of lyth.] _i. e._, Lucifer.

P. 242, l. 7. With syde lokkys.] “Over thin eyn and thin here” is here inserted in the MS.

P. 245, l. 16. Prose.] So in MS., but perhaps it ought to be _profe_.

P. 262, l. 17. With wyld hors lete hym be drawe.] This mode of punishment was very common in the middle ages. It is again alluded to at p. 290.

P. 275, l. 28. Xad.] So in MS., but probably _shad_, as I do not find _x_ for _sh_ in any similar case.

P. 289, l. 20. Takyn his schaffalde.] We have an early notice of these vehicles in Chaucer, in the Milleres Tale, where he speaks of the “joly” clerk Absolon—

“Somtime to shew his lightnesse and maistrie He plaieth Herode on a skaffold hie.”

The parish-clerks, says Tyrwhit, had always a principal share in the representation of mysteries. See notes to Canterbury Tales, v. 3384, Sharp’s Dissertation on the Coventry Mysteries, p. 17, and Reliquiæ Antiquæ, vol. i. p. 322.

P. 297, l. 13. Et cantabit gallus.] This was accomplished by one of the company, and a proficiency in the imitation was probably aimed at and accomplished. Among the accounts published by Mr. Sharp is the following entry:—“Paid to Fawston for coc croyng, iiij. d.”—Dissertation, p. 36.

P. 313, l. 4. Whi spekest not me to.] A great deal of this is merely paraphrased from the vulgate. Pilate “seide to Jhesu, of whenis art thou? but Jhesus gaf noon answere to him. Pilat seith to him, spekist thou not to me, wost thou not that I have power to crucifie thee, and I have power to delivere thee.”—John, chap. xix, Wickliffe’s version.

P. 329. THE DESCENT INTO HELL.] The oldest mystery in the English language is founded on this subject, a very popular theme, the principal authority for which is the gospel of Nicodemus. It is related in Piers Ploughman, ed. Wright, p. 385-393.

The print of Christ harrowing hell, published by Hearne, and the unique illustration which it affords to two passages in Shakespeare, are too well known to require a more particular notice.

P. 338. THE RESURRECTION.] The writer of the sermon against mysteries before quoted is very severe on the performance of so sacred a subject as the present. “In the dayes of ceremonial religion,” says Lambarde, “they used at Wytney to set foorthe yearly in manner of a shew or interlude, the Resurrection of our Lord and Saviour Chryste, partly of purpose to draw thyther some concourse of people that might spend their money in the towne, but chiefly to allure by pleasant spectacle the comon sort to the likinge of Popish maumetrie; for the which purpose, and the more lyvely thearby to exhibite to the eye the hole action of the Resurrection, the pristes garnished out certein smalle puppets, representinge the persons of Christe, the watchmen, Marie, and others, amongest the which one bare the parte of a wakinge watcheman, who, espiinge Christ to arise, made a continual noyce, like to the sound that is caused by the metinge of two styckes, and was thereof comonly called Jack Snacker of Wytney.”—_Dictionarium Angliæ Topographicum et Historicum_, Lond. 1730, p. 459.

P. 346, l. 11, 12.

Harde gatys have I gon, And peynes sofryd many on.

These lines bear a very remarkable resemblance to two others in the early mystery of the Harrowing of Hell, recently printed, and would lead us to think that the author of the Coventry play had had the other in his recollection:—

“Hard gates havy gon, Sorewen soffred mony on.”—p. 15.

P. 361, l. 27. To stey to my fadyr.] “Touche me not yet, for I have not yet stied up to my fadir; but go to my brethren and seie to them, I stie to my fadir and to youre fadir, to my God and to youre God.”—John, xx. Wickliffe’s translation.

P. 362, l. 21. But now in herte.] This and the following twenty-one lines are repeated in the MS. in a different hand.

P. 383. THE ASSUMPTION OF THE VIRGIN. The whole of this pageant is written in a more recent hand, of the time, I should think, of Henry VIII. It will be observed that this composition differs considerably from the other plays.

P. 402, l. 1. Clamavit.] The Latinity throughout the MS. is very bad, but I have suffered it generally to remain as a criterion of the reliance to be placed upon the MS. text.

CORRECTIONS OF THE MS. AND ERRATA.

Transcriber’s Note: The errata have been corrected, except for the one about repeated lines. (The lines are indeed repeated. It’s just not clear what the author thinks you should do about it.)

P. 10, l. 21. After _adultrye_ add semicolon.—P. 18, l. 5. For _therin_ read _ther in_.—P. 35, l. 22. For _deynful_ read _deyn ful_.—P. 65, l. 13. Add a full stop after _dwelle_.—P. 68, l. 27. For _shepeof_ read _shepe of_.—P. 75, l. 10. Add a semicolon after _offens_.—P. 84, l. 6. Dele _with_.—P. 91, l. 31. For _grannt_ read _graunt_.—P. 96, l. 6. _Our_, forte _your_.—P. 101, l. 16. For _infere_ read _in fere_.—P. 101, l. 30. For _allemanere_ read _alle manere_.—P. 103, l. 13. For _besteryd_ read _be steryd_.—P. 108, l. 19. Seyth be, _forte_ subtyl.—P. 131, l. 25. For _ryngewele_ read _rynge wele_.—P. 145, l. 4. For _trybutehym_ read _trybute hym_.—P. 154, l. 29. For _yourspede_ read _your spede_.—P. 156, l. 17. For _asyne_ read _a syne_.—P. 238, l. 1. For _allewith_ read _alle with_. P. 256, l. 16-19. These lines are repeated from p. 252.—P. 263, l. 8. For _behis_ read _be his_.—P. 283, l. 15. As, _forte_ and.—P. 385, l. 30. After _ded_ add a comma.

GLOSSARY.

The Arabic numerals refer to the pages of the volume. Words of frequent occurrence have a limited number of references, and those which are exceedingly common have none. Many of the words in this Glossary may be found in Chaucer and contemporary writers.

A, sometimes signifies with, and before a verb is sometimes used for to.

A, sometimes have, as “a ffayled,” 45, have failed, and in several other places.

A, sometimes a corruption of on or in, and occasionally at.

A, ah! an interjection of very frequent occurrence.

Abyde, stay, remain.

Accende, 214, animate, Lat.

Acorde, accord, agree.

Adawe, _vide_ dawe.

Adown, down.

Adred, afraid.

Advowtrye, 216, adultery.

Ageyn, again.

Aglottes, 241. This word is used to denote the tags or metal sheathings of the points which were formerly so much in fashion. _See_ Palsgrave’s Esclarcissement, “agglet of a lace or poynt, fer.”