i. 302) has the following direction for the riding from the Tower to

Westminster, ‘at the condit in Cornylle ther must be ordined a sight wᵗ angelles singinge and freche balettes yʳon in latene, engliche and ffrenche, mad by the wyseste docturs of this realme; and the condyt of Chepe in the same wyse; and the condit must ryn bothe red wyn and whit wyne; and the crosse in Chepe muste be araid in yᵉ most rialle wyse that might be thought; and the condit next Poules in the same wyse.’

[503] Contemporary account in Leland, _Collectanea_ (ed. Hearne), iv. 218, and J. Ives, _Select Papers_ (1773), 127.

[504] Minutely detailed contemporary account in _Antiquarian Repertory_, ii. 248; cf. Stowe, _Annals_, 483; Hazlitt-Warton, iii. 160.

[505] Stowe, _Annals_, 517; Hall, 638; cf. _Representations_ (London).

[506] Minutely detailed contemporary account in _Antiquarian Repertory_, ii. 232; Hall, 801; Collier, ii. 353. Leland’s and Udall’s verses for the pageants are in _Ballads from MSS._, i. 378 (Ballad Soc.).

[507] Contemporary account in Leland, _Collectanea_ (ed. Hearne), iv. 313.

[508] Stowe, _Annals_, 616; cf. _Texts_, s.v. John Heywood.

[509] Holinshed, iii. 1121.

[510] Contemporary account in Nichols, _Progresses of Elizabeth_, i. 38.

[511] Cf. vol. i. p. 121.

[512] Warton, iii. 158, says that ‘Speakers seem to have been admitted into our pageants about the reign of Henry VI.’ But there were songs, and for all we know, speeches also in 1377 and 1415. Verses such as Lydgate wrote for pageants were often fastened on them, and read or not read aloud when the visitor approached, as might be convenient.

[513] Cf. p. 5.

[514] Wheatley-Cunningham, _London Past and Present_, i. 373, 458; iii. 409.

[515] Julleville, _Les Myst._ i. 196; ii. 186.

[516] Sharp, 145.

[517] Davies, 162, 171, 282.

[518] J. Raine, _English Miscellanies_ (Surtees Soc., vol. lxxxv), 53, from _Corporation House Book_, vi. 15.

[519] Contemporary account in Leland, _Collectanea_ (ed. Hearne), iv. 185. A description of an earlier reception of Edward IV at Bristol with ‘Wylliam conquerour,’ ‘a greet Gyaunt delyueryng the Keyes,’ and St. George is in Furnivall, _Political, Religious, and Love Poems_ (E. E. T. S.), 5.

[520] Leland, _Collectanea_, iv. 263.

[521] Cf. _Representations_, s.v. Aberdeen.

[522] Cf. vol. i. p. 398.

[523] Symonds, _Renaissance in Italy_, iv. 338.

[524] Cf. vol. i. p. 86.

[525] Ward, i. 108. The limitation by Collier, ii. 299, of ‘what may be properly, and strictly, called _Interludes_’ to farces of the type affected by John Heywood has introduced a most inconvenient semi-technical term into literary nomenclature. I do not so limit the word.

[526] _Gawain and the G. K._ 472:

‘Wel bycommes such craft vpon, cristmasse, Laykyng of enterludez, to laȝe & to syng.’

[527] Cf. vol. i. p. 93.

[528] Hazlitt, _E. D. S._ 80 ‘How thanne may a prist pleyn in entirlodies?’ In Barbour, _Bruce_ (†1375), x. 145 ‘now may ȝe heir ... Interludys and iuperdys, þat men assayit on mony vis Castellis and pelis for till ta,’ the sense is metaphorical, as in ‘ioculando et talia verba asserendo interludia fuisse vanitatis’ quoted by Ducange from _Vit. Abb. S. Alb._, i.e. probably Thomas Walsingham (†1422), not Matthew Paris (†1249). The reading is doubtful in Anastasius Bibliothecarius (9th cent.), _Hist. Pontif._ (_P. L._ lxxx. 1352), ‘quem iussit sibi praesentari in interludo noctu ante templum Palladis.’

[529] For probable 1385 cases, cf. _Representations_, s.v. King’s Lynn.

[530] A ‘vyce’ made pastime before and after a play at Bungay, but this was not until 1566.

[531] Julleville, _Les Com._ 97. These performances were known as _les pois pilés_ and began about the middle of the fourteenth century. The Anglo-French _entrelude_, asterisked by the _N. E. D._, is found in 1427 (cf. p. 186). Collier’s theory receives some support from the Spanish use of the term _entremes_ for a comic piece played in conjunction with a serious _auto_. But the earlier sense of _entremes_ itself appears to be for an independent farce played at banquets (Ticknor, _Hist. of Span. Lit._ (ed. 1888), i. 231; ii. 449).

[532] Cf. the accounts in Leland, _Collectanea_, iv. 228, 236, of the court of Henry VII. Douglas, _Palace of Honour_, ii. 410 ‘At eis they eit with interludis betwene,’ dates from 1501. Horman, _Vulgaria_ (1519), quoted on p. 137, speaks of the ‘paiantis’ of a play as corresponding in number to the courses of a feast. Much earlier Raoul de Presles (†1374) in his _Exposicion_ to Augustine, _de Civ. Dei_, ii. 8 (Abbeville, 1486), says that comedies ‘sont proprement apellez interludia, pour ce quilz se font entre les deux mengiers.’ But the use of _interludere_ by Ausonius, _Idyll_, x. 76, ‘interludentes, examina lubrica, pisces,’ and Ambrose, _Epist._ xlvii. 4, ‘interludamus epistolis,’ supports my view.

[533] For a curious distinction, probably neither original nor permanent, drawn about 1530 between ‘stage playes’ (presumably out of doors) in the summer and ‘interludes’ (presumably indoors) in the winter, cf. the documents printed by H. R. Plomer, in _Trans. of Bibliographical Society_, iv. (1898), 153, and A. W. Pollard in _Fifteenth Century Prose and Verse_, 305, about a suit between John Rastell, lawyer, printer, and playwright, and one Henry Walton. Rastell, going on a visit to France about 1525, had left with Walton a number of players’ garments. These are fully described. They were mostly of say or sarcenet, and the tailor, who with the help of Rastell’s wife had made them, valued them at 20_s._ apiece. Walton failed to restore them, and for some years let them on hire, to his own profit. Evidence to this effect was given by John Redman, stationer, and by George Mayler, merchant tailor, and George Birche, coriar, two of the king’s players. These men had played in the garments themselves and had seen them used in ‘stage pleyes’ when the king’s banquet was at Greenwich [in 1527; cf. vol. i. p. 400]. They had been used at least twenty times in stage plays every summer and twenty times in interludes every winter, and Walton had taken, as the ‘common custume’ was, at a stage play ‘sumtyme xlᵈ., sometyme ijˢ., as they couth agree, and at an interlude viijᵈ for every tyme.’ Rastell had brought a previous suit in the mayor’s court, but could only receive 35_s._ 9_d._, at which the goods had been officially appraised. But they were then ‘rotten and torne,’ whereas Rastell alleged that they were nearly new when delivered to Walton and worth 20 marks. Walton relied on the official appraisement, and had a counter-claim for 40_s._ balance of a bill for 50_s._ costs ‘in making of stage for player in Restall’s grounde beside Fyndesbury, in tymbre, bourde, nayle, lath, sprigge and other thyngs.’ He held the clothes against payment of this amount, which Rastell challenged.

[534] In 1503 a _Magi_ was given in Canterbury guildhall. Some of the crafts of Coventry (1478-1568) and Newcastle (1536) had plays at their guild feasts. The indoor performances of Chester plays in 1567 and 1576 are late and exceptional.

[535] Cf. Appendix E, ii (Maxstoke), iii (Thetford), vii (Howard), viii (Tudor Court). ‘Moleyn’s wedding’ attended by Lord Howard, is the first of many at which the players are recorded to have made the mirth. Some of the entries may imply visits _to_ the plays, rather than _of_ the plays, and this I suppose to be the case with Henry VII’s payment ‘to the players _at_ Myles End.’ It is perhaps a little arbitrary to assume, as I have done, that players locally named are never professional. Thus the _lusores de Writhill_ paid by the duke of Buckingham on Jan. 6, 1508, are almost certainly identical with the _lusores Dñi de Wrisell_ (his brother-in-law, the earl of Northumberland) paid by him at Xmas, 1507 (_Archaeologia_, xxv. 318, 324), although it happens curiously enough that the Chelmsford wardrobe was drawn upon by players of Writtle in 1571-2. The local designation of members of the minstrel class is exceptional; but cf. the York example in the next note. The locally named _lusores_ may, however, sometimes have acted not a miracle, but a May-game or sword-dance; e.g., at Winchester College in 1400 when they came ‘cum tripudio suo’ (App. E, iv).

[536] I have taken _lusores_ in the _computi_ as always meaning performers of a dramatic _ludus_. This is often demonstrably correct and never demonstrably incorrect, except that when Colet in his _Oratio ad Clerum_ of 1511 quotes the canon ‘ne sit publicus lusor’ he seems to use the term in its canonical sense of ‘gambler.’ The English version (1661) has ‘common gamer or player.’ A similar ambiguity is, I think, the only one which attaches itself to ‘player’ where it is a technical term after the middle of the fourteenth century. Lydgate in his _Interpretacyon of the names of Goddys and Goddesses_ (quoted by Collier, i. 31) uses it of an actor, although an older sense is preserved by the _Promptorium Parvulorum_ (1440), ‘Bordyoure or pleyere, _ioculator_.’ The sense of _ludentes_, I think, is wide. The _ludentes_ ‘_de Donyngton_’ and ‘_de Wakefield_’ paid by the York corporation in 1446 (_York Plays_, xxxviii) are more likely to have been minstrels whom the corporation did provide for the plays than actors whom they did not. On the other hand about _interludentes_ and _interlusores_, neither of them very common terms, there can be no doubt. _Lusiatores_ occurs as a synonym for _lusores_ at Shrewsbury only. _Mimi_ and _histriones_ I have uniformly treated as merely minstrels. At a late date they might, I suppose, be actors, but it is impossible to differentiate.

[537] Plays were sometimes read, even in the fifteenth century. The prologue of _The Burial and Resurrection_ has ‘Rede this treyte,’ although it was also converted into ‘a play to be playede’; and the epilogue of the Digby _St. Mary Magdalen_ has ‘I desyer the redars to be my frynd.’ Thomas Wylley in 1537 describes some of his plays to Cromwell as ‘never to be seen, but of your Lordshyp’s eye.’ Prynne, 834, asserts that ‘Bernardinus Ochin his Tragedy of Freewil, Plessie Morney his Tragedie of Jeptha his daughter, Edward the 6 his Comedie de meretrice Babilonica, Iohn Bale his Comedies de Christo et de Lazaro, Skelton’s Comedies, de Virtute, de Magnificentia, et de bono Ordine, Nicholaus Grimoaldus, de Archiprophetae Tragedia ... were penned only to be read, not acted’; but this is incorrect as regards Bale and Skelton and probably as regards others. The earliest printed plays are perhaps _Mundus et Infans_ (1522) and _Hickscorner_ (n.d.) both by Wynkyn de Worde (1501-35), _Everyman_ (n.d.) by Richard Pynson (1509-27). If a _Nigramansir_, by Skelton, was really, as Warton asserts, printed by Wynkyn de Worde in 1504, it might take precedence.

[538] Cf. Appendix E.

[539] 3 _Edw. IV_, c. 5; cf. vol. i. p. 45. This was continued by 1 _Hen. VIII_, c. 14, 6 _Hen. VIII_, c. 1, and 24 _Hen. VIII_, c. 13.

[540] Cf. Appendix E; _Hist. MSS._ v. 548.

[541] Percy, _N. H. B._ 22, 158, 339. An estimate for 1511-12 includes ‘for rewardes to Players for Playes playd in Christynmas by Stranegers in my house after xxᵈ every play by estimacion. Somme xxxiijˢ iiijᵈ.’ Another of 1514-15 has ‘for Rewards to Players in Cristynmas lxxijˢ.’ By 1522-3 the customary fee had largely grown, for a list of ‘Al maner of Rewardis’ of about that date has ‘Item. My Lorde usith and accustometh to gif yerely when his Lordshipp is at home to every Erlis Players that comes to his Lordshipe bitwixt Cristynmas ande Candelmas If he be his ˢpeciall Lorde and Frende ande Kynsman, xxˢ ... to every Lordis Players, xˢ.’

[542] Leland, _Collectanea_ (ed. Hearne), iv. 265. The _computi_ of James IV (_L. H. T. Accts._ ii. 131, 387; iii. 361) contain entries for plays before him by ‘gysaris’ including one at this wedding; but there is no evidence of a regular royal company at the Scottish court. In 1488 occurs a payment to ‘Patrik Johnson and the playaris of Lythgow that playt to the King,’ and in 1489 one to ‘Patrick Johnson and his fallowis that playt a play to the kyng in Lythqow.’ This Johnson or Johnstone, celebrated in Dunbar’s _Lament for the Makaris_, seems to have held some post, possibly as a minstrel, at court (_L. H. T. Accts._ i. c, cxcviii, ccxliv, 91, 118; ii. 131; Dunbar, _Poems_ (ed. S. T. S.), i. ccxxxvii).

[543] Collier, i. 44 and passim; Henry, _Hist. of Britain_, 454; cf. Appendix E, viii. The _Transactions of the New Shakspere Soc._ (1877-9), 425, contain papers about a dispute in 1529 between one of the company George Maller, glazier, and his apprentice, who left him and went travelling on his own account. From these it appears that ‘the Kinge’s plaierz’ wore ‘the Kinge’s bage.’ George Maller is the same player who appeared as a witness in the Rastell suit (cf. p. 184). There he is described as a merchant tailor; here as a glazier. That a king’s player should have a handicraft, even if it were only nominal, at all, looks as if the professional actors were not invariably of the minstrel type. Perhaps the glamour of a royal ‘bage’ made even minstrelsy respectable. Arthur, prince of Wales, had his own company in 1498 (_Black Book of Lincoln’s Inn_, i. 119), and Henry, prince of Wales, his by 1506.

[544] Medwall’s _Nature_ is divided into two parts, for performance on different days. But Medwall was a tedious person. Another interlude of his played in 1514 was so long and dull that Henry VIII went out before the end. _The Four Elements_ was intended to take an hour and a half ‘but if you list you may leave out much of the said matter ... and then it will not be past three quarters of an hour of length.’

[545] This method begins with the Croxton _Sacrament_, which has twelve parts, but ‘ix may play it at ease.’ Bale’s _Three Laws_ claims to require five players and _Lusty Juventus_ four. Several of the early Elizabethan interludes have similar indications.

[546] A Winchester _computus_ of 1579 (Hazlitt-Warton, ii. 234) has ‘pro diversis expensis circa Scaffoldam erigendam et deponendam, et pro domunculis de novo compositis cum carriagio et recarriagio ly joystes et aliorum mutuatorum ad eandem Scaffoldam, cum vj linckes et jᵒ duodeno candelarum, pro lumine expensis, tribus noctibus in ludis comediarum et tragediarum xxvˢ viijᵈ.’

[547] Appendix E (i).

[548] Brewer, iv. 1390, 1393, 1394; Hall, 723; Collier, i. 98.

[549] Stowe, _Annals_, 511.

[550] The miracle-plays and popular morals have a more general prayer for the spiritual welfare of the ‘sofereyns,’ ‘lordinges,’ and the rest of their audience.

[551] Willis, _Mount Tabor_ (1639, quoted Collier, ii. 196), describing the morality of _The Castle of Security_ seen by him as a child, says ‘In the city of Gloucester the manner is (as I think it is in other like corporations) that when Players of Enterludes come to towne, they first attend the Mayor, to enforme him what noble-mans servants they are and so to get licence for their publike playing: and if the Mayor like the Actors, or would show respect to their Lord and Master, he appoints them to play their first play before himselfe and the Aldermen and Common Counsell of the City; and that is called the Mayor’s play, where every one that will comes in without money, the Mayor giving the players a reward as hee thinks fit, to show respect unto them. At such a play, my father tooke me with him, and made mee stand betweene his leggs, as he sate upon one of the benches, where we saw and heard very well.’ In _Histriomastix_, a play of 1590-1610 (Simpson, _School of Shakespeare_, ii. 1), a crew of tippling mechanicals call themselves ‘Sir Oliver Owlet’s men and proclaim at the Cross a play to be given in the townhouse at 3 o’clock. They afterwards throw the town over to play in the hall of Lord Mavortius.’ In _Sir Thomas More_ (†1590, ed. A. Dyce, for Shakespeare Society, 1844) ‘my Lord Cardinall’s players,’ four men and a boy, play in the Chancellor’s hall and receive ten angels. For similar scenes cf. the _Induction_ to _The Taming of the Shrew_, and _Hamlet_, ii. 2; iii. 2.

[552] The earliest record of plays at inns which I have noticed is in 1557, when some Protestants were arrested and their minister burnt for holding a communion service in English on pretence of attending a play at the Saracen’s Head, Islington (Foxe, _Acts and Monuments_, ed. Cattley, viii. 444).

[553] Eustace Deschamps (†1415), _Miroir de Mariage_ (_Œuvres_, in _Anc. Textes franç._ vol. ix), 3109 (cf. Julleville, _La Com._ 40):

Mais assez d’autres femmes voy, Qui vont par tout sanz nul convoy Aux festes, aux champs, au theatre, Pour soulacier et pour esbatre: ... Elles desirent les cités, Les douls mos a euls recités, Festes, marchiés, et le theatre, Lieux de delis pour euls esbatre.

This theatre was probably one established towards the end of the fourteenth century by the _confrérie de la Passion_. From about 1402 they performed in the _Hôpital de la Trinité_; cf. Julleville, _Les Com._ 61, _La Com._ 40.

[554] Cf. vol. i. p. 383.

[555] _Register of Bishop Grandisson_ (ed. Hingeston-Randolph), ii. 1120. The letter, unfortunately too long-winded to quote in full, was written on Aug. 9, 1352, to the archdeacon of Exeter or his official. Grandisson says:—‘Sane, licet artes mechanicas, ut rerum experiencia continue nos informat, mutuo, necessitate quadam, oporteat se iuvare; pridem, tamen, intelleximus quod nonnulli nostrae Civitatis Exoniae inprudentes filii, inordinate lasciviae dediti, fatue contempnentes quae ad ipsorum et universalis populi indigenciam fuerunt utiliter adinventa, quendam Ludum noxium qui culpa non caret, immo verius ludibrium, in contumeliam et opprobrium allutariorum, necnon eorum artificii, hac instanti Die Dominica, in Theatro nostrae Civitatis predictae publice peragere proponunt, ut inter se statuerunt et intendunt; ex quo, ut didicimus, inter praefatos artifices et dicti Ludi participes, auctores pariter et fautores, graves discordiae, rancores, et rixae, cooperante satore tam execrabilis irae et invidiae, vehementer pululant et insurgunt.’ The _ludus_ is to be forbidden under pain of the greater excommunication. At the same time the _allutarii_ are to be admonished, since they themselves, ‘in mercibus suis distrahendis plus iusto precio, modernis temporibus,’ have brought about the trouble, ‘ne exnunc, in vendendo quae ad eos pertinent, precium per Excellentissimum Principem et Dominum nostrum, Angliae et Franciae Regemillustrem, et Consilium suum, pro utilitate publica limitatum, exigant quovis modo.’

[556] L. G. Bolingbroke, _Pre-Elizabethan Plays and Players in Norfolk_ (_Norfolk Archaeology_, xi. 336). The corporation gave a lease of the ‘game-house’ on condition that it should be available ‘at all such times as any interludes or plays should be ministered or played.’ John Rastell’s 50_s._ stage in Finsbury about 1520-5 (cf. p. 184), although not improbably used for public representations, is not known to have been permanent.

[557] At Rayleigh, Essex (1550), 20_s._ from the produce of church goods was paid to stage-players on Trinity Sunday (_Archaeologia_, xlii. 287). _An Answer to a Certain Libel_ (1572, quoted Collier, ii. 72) accuses the clergy of hurrying the service, because there is ‘an enterlude to be played, and if no place else can be gotten, it must be doone in the church’; cf. S. Gosson, _Third Blast of Retrait from Plaies and Theaters_, 1580 (Hazlitt, _E. D. S._ 134) ‘Such like men, vnder the title of their maisters or as reteiners, are priuiledged to roaue abroad, and permitted to publish their mametree in euerie Temple of God, and that through England, vnto the horrible contempt of praier. So that now the Sanctuarie is become a plaiers stage, and a den of theeues and adulterers.’ Possibly only the publication of the _banns_ of plays in church is here complained of. Cf. also Fuller, _Church History_ (1655), 391.

[558] Bonner’s _Injunctions_, 17, of April, 1542 (Wilkins, iii. 864), forbade ‘common plays games or interludes’ in churches or chapels. Violent enforcers of them were to be reported to the bishop’s officers; cf. the various injunctions of Elizabethan bishops in _Ritual Commission_, 409, 411, 417, 424, 436, and the 88th _Canon_ of 1604.

[559] Kelly, 16 ‘Paid to Lord Morden’s players because they should not play in the church, xijᵈ.’

[560] Jackson-Burne, 493, citing Sir Offley Wakeman in _Shropshire Archaeological Transactions_, vii. 383. Such plays were performed on wagons at Shropshire wakes within the last century. The ‘book’ seems to have been adapted from the literary drama, if one may judge by the subjects which included ‘St. George,’ ‘Prince Mucidorus,’ ‘Valentine and Orson,’ and ‘Dr. Forster’ or ‘Faustus.’ But a part was always found for a Fool in a hareskin cap, with balls at his knees. He is described as a sort of presenter or chorus, playing ‘all manner of megrims’ and ‘going on with his manœuvres all the time.’ I have not been able to see a paper on _Shropshire Folk-plays_ by J. F. M. Dovaston. G. Borrow, _Wild Wales_, chh. lix, lx (ed. 1901, p. 393), describes similar Welsh interludes which lasted to the beginning of the nineteenth century. The titles named suggest moralities. He analyses the _Riches and Poverty_ of Thomas Edwards. This, like the Shropshire interludes, has its ‘fool.’

[561] Roper, _Life and Death of Sir Thomas More_ (†1577, J. R. Lumby, _More’s Utopia_, vi) ‘would he at Christmas tyd sodenly sometymes stepp in among the players, and never studinge for the matter, make a parte of his owne there presently amonge them’; Erasmus, _Epist._ ccccxlvii ‘adolescens comoediolas et scripsit et egit.’ Bale, _Scriptores_ (1557), i. 655, ascribes to him comoedias iuveniles. Lib. 1.’ In the play of _Sir Thomas More_ (cf. p. 189) he is represented, even when Chancellor, as supplying the place of a missing actor with an improvised speech. Bale, ii. 103, says that Henry Parker, Lord Morley (1476-1556) ‘in Anglica sermone edidit comoedias et tragoedias, libros plures.’

[562] The _Revels Account_ for 1511 (Brewer, ii. 1496) notes an interlude in which ‘Mr. Subdean, now my Lord of Armykan’ took part. In his _Oratio ad Clerum_ of the same year Colet criticizes the clerics who ‘se ludis et iocis tradunt’ (Collier, i. 64). A _Sermo exhortatorius cancellarii Eboracensis his qui ad sacros ordines petunt promoveri_ printed by Wynkyn de Worde about 1525 also calls attention to the canonical requirement that the clergy should abstain ‘a ludis theatralibus’ (Hazlitt, _Bibl. Coll. and Notes_, 3rd series (1887), 274).

[563] Collier, i. 46 and _passim_; Bernard Andrew, _Annales Hen. VII_ in Gairdner, _Memorials of Henry VII_ (R. S.), 103; Hall, 518, 583, 723; Kempe, 62; _Revels Accounts_, &c., in Brewer, _passim_; cf. Appendix E (viii). The Chapel formed part of the household of Henry I about 1135 (_Red Book of Exchequer_, R. S. iii. cclxxxvii, 807); for its history cf. _Household Ordinances_, 10, 17, 35, 49; E. F. Rimbault, _The Old Cheque Book of the Chapel Royal_ (C. S.); F. J. Furnivall, _Babees Book_ (E. E. T. S.), lxxv.

[564] Percy, _N. H. B._ 44, 254, 345. In household lists for 1511 and 1520 comes the entry ‘The Almonar, and if he be a maker of Interludys than he to have a Servaunt to the intent for Writynge of the Parts and ells to have non.’ There were nine gentlemen and six children of the chapel. The 1522-3 list of ‘Rewardes’ has ‘them of his Lordship Chappell and other his Lordshipis Servaunts that doith play the Play befor his Lordship uppon Shroftewsday at night, xˢ,’ and again, ‘Master of the Revells ... yerly for the overseyinge and orderinge of his Lordschip’s playes interludes and Dresinge [? disguisinges] that is plaid befor his Lordship in his Hous in the xij days of Xmas, xxˢ.’ This latter officer seems to have been, as at court, distinct from the ‘Abbot of Miserewll’ (vol. i. p. 418).

[565] _Black Books of Lincoln’s Inn_, i. 104, 119.

[566] Hall, 719; Collier, i. 103.

[567] R. J. Fletcher, _Pension Book of Gray’s Inn_, xxxix, 496.

[568] _Hist. MSS._ vii. 613. The play was to comprehend a ‘discourse of the world,’ to be called _Love and Life_, and to last three hours. There were to be sixty-two _dramatis personae_, each bearing a name beginning with L.

[569] Cf. Appendix E (v).

[570] Brewer, iv. 6788.

[571] Boase, _Register of the University of Oxford_ (O. H. S.), i. 298.

[572] Mullinger, _Hist. of Cambridge_, ii. 73. Ascham, _Epist_. (1581), f. 126ᵛ, writing †1550 (quoted Hazlitt-Warton, iii. 304) says that Antwerp excels all other cities ‘quemadmodum aula Iohannis, theatrali more ornata, seipsam post Natalem superat.’ Speaking in _The Scholemaster_ (ed. Mayor, 1863), 168, of his contemporaries at St. John’s (†1530-54), Ascham highly praises the _Absalon_ of Thomas Watson, which he puts on a level with Buchanan’s _Jephthah_. Watson, however, ‘would never suffer it to go abroad.’ This play apparently exists in manuscript; cf. _Texts_ (iv). Ascham himself, according to his _Epistles_, translated the _Philoktetes_ into Latin (Hazlitt, _Manual_, 179). In _The Scholemaster_, he further says, ‘One man in Cambrige, well liked of many, but best liked of him selfe, was many tymes bold and busie to bryng matters upon stages which he called Tragedies.’ Ascham did not approve of his Latin metre. Possibly he refers to John Christopherson, afterwards bishop of Chichester, to whom Warton, iii. 303; Cooper, _Athenae Cantab._ i. 188; _D. N. B._ attribute a tragedy in Greek and Latin of _Jepthes_ (1546). I can find no trace of this. It is not mentioned by Bahlmann.

[573] Cf. p. 220.

[574] J. Peile, _Christ’s College_, 54; cf. p. 216.

[575] Mullinger, _Hist. of Cambridge_, ii. 627. _Statute_ 24 of 1560, _De comoediis ludisque in Natali Christi exhibendis_, requires that ‘novem domestici lectores ... bini ac bini singulas comoedias tragoediasve exhibeant, excepto primario lectore quem per se solum unam comoediam aut tragoediam exhibere volumus.’ A fine is imposed on defaulters, and the performances are to be in the hall ‘privatim vel publice’ during or about the twelve nights of Christmas. On an earlier draft of this statute cf. vol. i. p. 413.

[576] _Statute_ 36 (_Documents relating to Cambridge_, iii. 54); cf. Mullinger, _op. cit._ ii. 73.

[577] Dee, _Compendious Rehearsall_ (app. to Hearne, _Ioh. Glastoniensis Chronicon_, 501), after mentioning his election, says ‘Hereupon I did sett forth a Greek comedy of Aristophanes’ play named in Greek Εἰρήνη, in Latin _Pax_.’

[578] J. Sargeaunt, _Annals of Westminster_, 49; _Athenæum_ (1903), i. 220.

[579] Maxwell-Lyte, _Hist. of Eton_ (3rd ed. 1899), 118 ‘pro expensis circa ornamenta ad duos lusus in aula tempore natalis Domini, xˢ.’

[580] Printed in E. S. Creasy, _Memoirs of Eminent Etonians_, 91 ‘circiter festum D. Andreae ludimagister eligere solet pro suo arbitrio scaenicas fabulas optimas et quam accommodatissimas, quas pueri feriis natalitiis subsequentibus, non sine ludorum elegantia, populo spectante, publice aliquando peragant. Histrionum levis ars est, ad actionem tamen oratorum et gestum motumque corporis decentem tantopere facit, ut nihil magis. Interdum etiam exhibet Anglico sermone contextas fabulas, quae habeant acumen et leporem.’

[581] Brewer, xiv. 2. 334 ‘Woodall, the schoolmaster of Eton, for playing before my Lord, £5.’

[582] Brown, _Cat. of Venetian Papers_, iv. 3. 208, 225; Brewer, iv. 3563; Hall, 735; Cavendish, _Life of Wolsey_ (ed. Singer), 201; Collier, i. 104.

[583] Lupton, _Life of Colet_, 154.

[584] _Texts_, s.v. Heywood.

[585] Warton speaks of a play by the ‘children’ or ‘choir-boys’ of St. Paul’s at a visit to Elizabeth by Mary and of another play of _Holophernes_ ‘perhaps’ by the same children later in the year. But the dates given in his _Hist. of Poetry_ (ed. Hazlitt), ii. 234, iii. 312, and his _Life of Sir Thomas Pope_ (ed. 1780), 46, do not agree together, and the authority to which he refers (_Machyn’s Diary_, then in MS.) does not bear him out. On his _bona fides_ cf. H. E. D. Blakiston, in _E. H. Review_, for April, 1896. Ward, i. 153, rather complicates the matter by adding to _Holophernes_ a second play called _The Hanging of Antioch_, but even in Warton’s account this ‘hanging’ was only a curtain.

[586] Bale, _Scriptores_ (1557), i. 700 ‘Radulphus Radclif, patria Cestriensis, Huchiniae in agro Hartfordiensi, & in coenobio, quod paulo ante Carmelitarum erat, ludum literarium anno Domini 1538 aperuit, docuitque Latinas literas. Mihi quidem aliquot dies in unis & eisdem aedibus commoranti, multa arriserunt: eaque etiam laude dignissima. Potissimum vero theatrum, quod in inferiori aedium parte longe pulcherrimum extruxit. Ibi solitus est quotannis simul iucunda & honesta plebi edere spectacula, cum ob iuventutis, suae fidei & institutioni commissae, inutilem pudorem exuendum, tum ad formandum os tenerum & balbutiens, quo clare, eleganter, & distincte verba eloqui & effari consuesceret. Plurimas in eius museo vidi ac legi tragoedias & comoedias ... Scripsit de Nominis ac Verbi, potentissimorum regum in regno Grammatico, calamitosa &

_Exitiali pugna, Lib. 2_ ... _De patientia Grisilidis, Com. 1_ ... _De Melibaeo Chauceriano, Com. 1_ ... _De Titi & Gisippi amicitia, Com. 1_ ... _De Sodomae incendio, Tra. 1_ ... _De Io. Hussi damnatione, Tra. 1_ ... _De Ionae defectione, Com. 1_ ... _De Lazaro ac diuite, Com. 1_ ... _De Iudith fortitudine, Com. 1_ ... _De Iobi afflictionibus, Com. 1_ ... _De Susannae liberatione, Tra. 1_ ...

Claruit Radclifus, anno a Christi servatoris ortu 1552 ... Nescioque an sub Antichristi tyrannide adhuc vivat.’ Bale, _Index_, 333, has fuller titles. Some of Radclif’s plays were almost certainly in Latin, for Bale gives in Latin the opening words of each, and as Herford, 113, points out, those of the _Lazarus_ and the _Griselda_ clearly form parts of Latin verses. But he showed them ‘plebi.’ Professor Herford learnt ‘that no old MSS. in any way connected with Radclif now remain at Hitchin, where his family still occupies the site of his school.’

[587] Julleville, _Les Com._, _passim_. A collection of farces is in E. L. N. Viollet-le-Duc, _Ancien Théâtre français_ (1854-7). For morals and farces at the Feasts of Fools and of the Boy Bishop abroad, and for the satirical tendency of such entertainments, cf. vol. i. p. 380. In 1427, after the feast of St. Laurent, Jean Bussières, chaplain of St. Remi de Troyes, ‘emendavit quod fecerat certum perconnagium rimarum in cimiterio dicte ecclesie Sancti Remigii; de quibus rimis fuerat dyabolus et dixerat plura verba contra viros ecclesiasticos’ (_Inv. des Arch, de l’Aube_, sér. G, i. 243). The fifteenth-century Dutch farces appear to have been played at the meetings of the _Rederijkerkammern_, and the German _Fastnachtsspiele_, which derive largely from folk _ludi_, by associations of handicraftsmen (Creizenach, i. 404, 407).

[588] Julleville, _Les Com._ 325.

[589] Ibid. 342. There is nothing to show the character of the French players who visited the English court in 1494 and 1495 (Appendix E, viii).

[590] Cf. p. 190 and vol. i. p. 383. The only known English _puy_ is that of London (vol. i. p. 376).

[591] The titles of the printed plays do not help, as they were probably added by the printers, and in any case ‘enterlude’ does not exclude a popular play.

[592] _Hist. MSS._ vii. 613.

[593] Collier, ii. 196, quotes the description by Willis, _Mount Tabor_ (1639), and refers to other notices of the play. In _Sir Thomas More_ (†1590, ed. A. Dyce, from _Harl. MS._ 7368 for Shakes. Soc. 1844) ‘my lord Cardinall’s players’ visit More’s house and offer the following repertory:

‘The Cradle of Securitie, Hit nayle o’ th’ head, Impacient Pouertie, The play of Foure Pees, Diues and Lazarus, Lustie Juuentus, and the Mariage of Witt and Wisedom.’

The ascription of these plays to Wolsey’s lifetime must not be pressed too literally. Of _Hit Nayle o’ th’ Head_ nothing is known. Radclif (p. 197) wrote a _Dives and Lazarus_. For the rest cf. p. 189; _Texts_ (iv). The piece actually performed in _Sir Thomas More_ is called _Wit and Wisdom_, but is really an adaptation of part of _Lusty Juventus_. A play of _Old Custome_, probably a morality, was amongst the effects of John, earl of Warwick, in 1545-50 (_Hist. MSS._ ii. 102).

[594] Cf. Brandl, xl. The performances of _Everyman_ given in the courtyard of the Charterhouse in 1901, and subsequently in more than one London theatre, have proved quite unexpectedly impressive.

[595] John Rastell printed †1536 _Of gentylnes and nobylyte, A dyalogue ... compilit in maner of an enterlude with divers toys and gestis addyd thereto to make mery pastyme and disport_; cf. _Bibliographica_, ii. 446. Heywood’s _Witty and Witless_ is a similar piece, and a later one, _Robin Conscience_, is in W. C. Hazlitt, _Early Popular Poetry_, iii. 221. In 1527 Rastell seems to have provided for the court a pageant of ‘The Father of Hevin’ in which a dialogue, both in English and Latin, of riches and love, written by John Redman, and also a ‘barriers’ were introduced (Brewer, iv. 1394; Collier, i. 98; Hall, 723; Brown, _Venetian Papers_, iv. 105). A dialogue of Riches and Youth, issuing in a ‘barriers,’ is described by Edward VI in 1552 (_Remains_, ii. 386). On the vogue during the Renascence of this dialogue literature, which derives from the mediaeval _débats_, cf. Herford, ch. 2.

[596] Collier, i. 69. This notice is said by Collier to be from a slip of paper folded up in the _Revels Account_ for 1513-4. It is not mentioned in Brewer’s _Calendar_.

[597] Leland, _Collectanea_ (ed. Hearne), iv. 265; _Computus_ for 1551-6 of Sir Thos. Chaloner (_Lansd. MS._ 824, f. 24) ‘Gevyn on Shrove monday to the king’s players who playd the play of Self-love ... xx⁸.’

[598] Cf. ch. xvi.

[599] There was a ‘farsche’ at Edinburgh in 1554 (_Representations_, s.v.). In 1558 the Scottish General Assembly forbade ‘farseis and clerke playis’ (Christie, _Account of Parish Clerks_, 64). Julleville, _La Com._ 51, explains the term. _Farsa_ is the L. L. past part. of _farcire_ ‘to stuff.’ Besides its liturgical use (vol. i. p. 277) ‘on appela _farce_ au théâtre une petite pièce, une courte et vive satire formée d’éléments variés et souvent mêlée de divers langages et de différents dialectes.... Plus tard, ce sens premier s’effaça; le mot de farce n’éveilla plus d’autre idée que celle de comédie très réjouissante.’ _Farce_ is, therefore, in its origin, precisely equivalent to the Latin _Satura_.

[600] Cf. vol. i. p. 83.

[601] _Texts_, s.v. Lyndsay. The only other fragment of the Scottish drama under James IV is that ascribed to Dunbar (_Works_, ed. Scot. Text Soc., ii. 314). In one MS. this is headed ‘_Ane Littill Interlud of the Droichis Part of the_ [_Play_] but in another _Heir followis the maner of the crying of ane playe_. Both have the colophon. _Finis off the Droichis Pairt of the Play._ From internal evidence the piece is a _cry_ or _banes_. Ll. 138-41 show that it was for a May-game:

‘ȝe noble merchandis ever ilkane Address ȝow furth with bow and flane In lusty grene lufraye, And follow furth on Robyn Hude.’

[602] Cushman, 63, 68.

[603] No play in the first two sections of the ‘vice-dramas’ tabulated by Cushman, 55, has a vice. Of the eleven plays (excluding _King John_, which has none) that remain, eight can be called morals. But to these must be added Heywood’s _Love_ and _Weather_, Grimald’s _Archipropheta_, _Jack Juggler_, _Hester_, _Tom Tiler and His Wife_, none of which are morals, unless the first can be so called.

[604] Cushman, 68. It has been derived from _vis d’âne_, and from _vis_, ‘a mask’; from the Latin _vice_, because the vice is the devil’s representative; from _device_, ‘a puppet moved by machinery,’ and finally, by the ingenious Theobald, from ‘O. E. _jeck_—Gk. εἰκαῖ, i.e. ϝικαῖ = ϝείκ = formal character.’

[605] Cf. _Texts_, s.v. Medwall. In _Misogonos_ (†1560) Cacurgus, the _Morio_, is a character, and is called ‘foole’ and ‘nodye’ but not ‘vice.’

[606] Collier, ii. 191; Cushman, 69; cf. ch. xvi.

[607] Cf. _Representations_, s.vv. Bungay, Chelmsford.

[608] The ‘pleyers with Marvells’ at court in 1498 are conjectured to have played miracles. But they may have been merely _praestigiatores_.

[609] Cf. vol. i. p. 180.

[610] Cf. p. 197, n. 1.

[611] Cf. _Texts_, s.v. Grimald.

[612] W. B[aldwin], _Bell the Cat_ (1553).

[613] Krumbacher, 534, 644, 653, 717, 746, 751, 766, 775. The Χριστὸς Πάσχων (ed. by J. G. Brambs, 1885; and in _P. G._ xxxviii. 131) was long ascribed to the fourth-century Gregory Nazianzen. Later scholars have suggested Joannes Tzetzes or Theodorus Prodromus, but Krumbacher thinks the author unidentified. A third of the text is a cento from extant plays, mainly of Euripides.

[614] Krumbacher, 645.

[615] Teuffel, ii. 372; Cloetta, i. 3, 70; Creizenach, i. 4, 20. The _Querolus_ (ed. L. Havet, 1880) was ascribed by the Middle Ages to Plautus himself. The _Geta_, if it existed, is lost.

[616] Sidonius, _Carm._ xxiii. 134.

[617] Cloetta, i. 14; ii. 1; Creizenach, i. 1, 486; Bahlmann, _Ern._ 4; M. Manitius, in _Philologus_, suppl. vii. 758; Ward, i. 7, quoting Hrotsvitha,

‘sunt etiam ... qui, licet alia gentilium spernant, Terentii tamen fragmenta frequentius lectitant.’

[618] Creizenach, i. 2; Ward, i. 8; _Göttinger gelehrte Anzeigen_ (1835), 911.

[619] Creizenach, i. 17; Cloetta, i. 127; Ward, i. 6; Pollard, xii; A. Ebert, _Gesch. d. Litt. d. Mittelalters_ (1887), iii. 314; W. H. Hudson in _E. H. R._ iii. 431. The plays of Hrotsvitha (ed. K. A. Barack, 1858; ed. P. L. Winterfeld, 1901) are the _Gallicanus_, _Dulcitius_, _Callimachus_, _Abraham_, _Paphnutius_, _Sapientia_. They were discovered by Conrad Celtes and edited in 1501. It is not probable that he forged them.

[620] Printed in Appendix U.

[621] Creizenach, i. 5; Cloetta, i. 38. One of the exceptionally learned men who really knew something about the classical drama was John of Salisbury (†1159), _Polycraticus_, i. 8 ‘comicis et tragoedis abeuntibus, cum omnia levitas occupaverit, clientes eorum, comoedi videlicet et tragoedi, exterminati sunt’; iii. 8 ‘comoedia est vita hominis super terram, ubi quisque sui oblitus personam exprimit alienam’ (_P. L._ cxcix. 405, 488). For the popular notion cf. Lydgate, _Troy Book_ (ed. 1555), ii. 11, perhaps translating Guido delle Colonne:

‘In the theatre there was a smale aulter, Amyddes sette that was half Circuler, Which into East of custome was directe, Upon the whiche a Pulpet was erecte, And therin stode an auncient poete, For to reherse by rethorykes swete, The noble dedes that were hystoryall, Of kynges & prynces for memoryall ... All this was tolde and red of the Poete, And whyle that he in the pulpet stode, With deadly face all deuoyde of blode, Synging his ditees with muses all to rent, Amyd the theatre shrowded in a tent, There came out men gastfull of their cheres, Disfygured their faces with viseres, Playing by sygnes in the peoples syght, That the Poet songe hath on heyght, ... And this was done in Apryll and in May.’

[622] Creizenach, i. 6; Cloetta, i. 35. See the miniature reproduced from a fifteenth-century MS. of Terence in P. Lacroix, _Sciences et Lettres au Moyen Âge_ (1877), 534.

[623] Cloetta, i. 14, has accumulated a fund of learning on this subject; cf. Creizenach, i. 9.

[624] Johannes Januensis, _Catholicon_ (1286), quoted by Cloetta, i. 28 ‘differunt tragoedia et comoedia, quia comedia privatorum hominum continet facta, tragoedia regum et magnatum. Item comoedia humili stilo describitur, tragoedia alto. Item comoedia a tristibus incipit sed cum laetis desinit, tragoedia e contrario.’

[625] Vincent of Beauvais, _Speculum maius triplex_ (†1250), i. 109 ‘Comoedia poesis exordium triste laeto fine commutans. Tragoedia vero poesis a laeto principio in tristem finem desinens.’ The Dante-commentator Francesco da Buti, quoted by Cloetta i. 48, illustrates this notion with an extraordinary explanation of the derivation of _tragedia_ from τράγος; ‘come il becco ha dinanzi aspetto di principe per le corna e per la barba, e dietro è sozzo mostrando le natiche nude e non avendo con che coprirle, così la tragedia incomincia dal principio con felicità e poi termina in miseria.’ Krumbacher, 646, describes the very similar history of the terms τραγῳδία and κωμῳδία in Byzantine Greek.

[626] Boethius, who of course understood the nature of comedy and tragedy, says (_Cons. Philosoph._ ii. pr. 2. 36) ‘quid tragoediarum clamor aliud deflet, nisi indiscreto ictu fortunam felicia regna vertentem?’ This becomes in the paraphrase of his eleventh-century commentator Notker Labeo (ed. Hattemar, 52ᵇ) ‘tragoediae sínt luctuosa carmina. álso díu sínt. díu sophocles scréib apud grecos. de euersionibus regnorum et urbium. únde sínt uuideruuártig tien comoediis. án dîen uuir îo gehórên laetum únde iocundum exitum.’

[627] Cloetta, i. 4; Teuffel, ii. 506. Blossius Aemilius Dracontius was a Carthaginian poet. The _Orestes_ is printed in L. Baehrens, _Poet. Lat. Min._ (_Bibl. Teub._), v. 218. There seems a little doubt whether the title _Orestis tragoedia_ in the Berne MS. is due to the author or to a scribe. The Ambrosian MS. has _Horestis fabula_.

[628] Creizenach, i. 12.

[629] Ibid. i. 7; Cloetta, i. 49. The _ludus prophetarum_ played at Riga in 1204 (p. 70) is called ‘ludus ... quam Latini comoediam vocant.’ Probably this is a bit of learning on the part of the chronicler; cf. the Michael-House instance (p. 344). For scraps from non-dramatic classical authors in liturgical plays, cf. p. 48. The ‘theatricales ludi’ of Innocent III and others (vol. i. p. 40; vol. ii. p. 99) seem to be not miracle-plays, but the Feast of Fools and similar mummings.

[630] Dante, _Dedicatio_ of _Paradiso_ to Can Grande (_Opere Latine_, ed. Giuliani, ii. 44) ‘est comoedia genus quoddam poeticae narrationis.... Differt ergo a tragoedia in materia per hoc quod tragoedia in principio est admirabilis et quieta, in fine sive exitu est foetida et horribilis ... comoedia vero inchoat asperitatem alicuius rei, sed eius materia prospere terminatur.’ P. Toynbee (_Romania_, xxvi. 542) shows that Dante substantially owed these definitions to the _Magnae Derivationes_ of the late twelfth-century writer, Uguccione da Pisa.

[631] Boccaccio’s _Ameto_ bears the sub-title _Comedia delle Ninfe fiorentine_.

[632] Chaucer, _Monk’s Prologue_, (_C. T._ 13,999):

‘Or elles first Tragedies wol I telle Of whiche I have an hundred in my celle. Tragedie is to seyn a certeyn storie, As olde bokes maken us memorie, Of him that stood in greet prosperitee And is y-fallen out of heigh degree Into miserie, and endeth wrecchedly.’

Cf. the gloss in his _Boethius_, ii. pr. 2, 78, to the passage already quoted on p. 20; and the description of _Troilus_ in _T. C._ v. 1786.

[633] Lydgate, _Fall of Princes_, prol.:

‘My maister Chaucer with his fressh commedies, Is deed, alas, chefe poete of Bretayne: That sometyme made full pitous tragedies.’

[634] W. F. Trench, _A Mirror for Magistrates; its Origin and Influence_ (1898), 18, 76, 82, 120, 125.

[635] Cf. vol. i. p. 177.

[636] Bale, i. 370.

[637] Ibid. ii. 68.

[638] Cloetta, ii. 4, 11, 91, 147; Creizenach, i. 487, 529, 572; Bahlmann, _Ern._ 9, 13, 15, 30, 40.

[639] Cloetta, ii. 69, 221; Creizenach, i. 490, 510, 580.

[640] The earliest printed text (†1473) of Claudian’s _De Raptu Proserpinae_ is from a version arranged as two pseudo-dramas (Cloetta, i. 135).

[641] Cloetta, i, _passim_; Creizenach, i. 20; Peiper, _Die profane Komödie des Mittelalters_, in _Archiv f. Litteraturgeschichte_, v. 497. Some of the texts are in Müllenbach, _Comoediae Elegiacae_ (1885), and T. Wright, _Early Mysteries and other Latin Poems_ (1844). Cloetta gives references for the rest.

[642] Creizenach, i. 533, 548, 563, 581; Bahlmann, _Ern._ 13, 36, 38, 44, 48.

[643] Creizenach, i. 569; ii. 23, 43, 59; Bahlmann, _L. D._ 31; Julleville, _Les Com._ 298; J. Bolte, in _Vahlen-Festschrift_ (1900), 589.

[644] Creizenach, ii. 1, 71, 88, 370, 374; Heiland, _Dramatische Aufführungen_, in K. A. Schmid, _Enc. d. gesammten Erziehungs- und Unterrichtswesens_ (2nd ed. 1876-87).

[645] Cf. p. 196.

[646] A. Wood, _Athenae_ (ed. Bliss), i. 35, s.v. _Lilly_, says that Ritwise ‘made the Tragedy of Dido out of Virgil; and acted the same with the scholars of his school before cardinal Wolsey with great applause.’ The date of this performance is given in the _D. N. B._, through a confusion with the anti-Lutheran play at court (cf. p. 196), as 1527. It is often identified with the _Dido_ played before Elizabeth at Cambridge in 1564. But there is no reason to doubt the statement of Hatcher’s sixteenth-century MS. account of King’s College (transcript in _Bodl._ 11,614) that the author of this was Edward Halliwell, who, like Ritwise, was a fellow of the college.

[647] Cf. p. 195.

[648] For the translation of the _Philoktetes_ of Sophocles by Roger Ascham, cf. p. 195. Bale, _Scriptores_ (1557), i. 720, mentions a translation from Greek into Latin of _tragoedias quasdam Euripidis_ by Thomas Keye or Caius (†1550).

[649] Creizenach, ii. 74; Herford, 84; Ward, i. 120; Bahlmann, _L. D._ 39, 53, 66, 82. Many plays of this school are in _Comoediae et Tragoediae aliquot ex Novo et Vetere Testamento desumptae_ (Brylinger, Basle, 1540) and _Dramata Sacra_ (Oporinus, Basle, 1547).

[650] Creizenach, ii. 76; Herford, 119; Bahlmann, _L. D._ 71. The play is in Brylinger, 314. A recent edition is that by Bolte and Schmidt (1891).

[651] Cf. p. 195. Both Thomas Artour, of Cambridge (ob. 1532), who wrote a _Microcosmum, tragoediam_, and a _Mundum plumbeum, tragoediam_ (Bale, i. 709), and John Hooker (ob. †1543), of Magdalen College, Oxford, who wrote a _comoediam, scilicet Piscatorem ... alio titulo Fraus illusa vocatur_ (Bale, i. 712), seem to have been Protestants, but nothing is known of the character of their plays, which may have been either English or Latin.

[652] Cf. p. 197.

[653] Bale, _Scriptores_, i. 674. It was written in his eleventh year (1547-8): cf. his _Remains_, i. xvi.

[654] Hall, 641.

[655] Hall, 719; Collier, i. 103.

[656] Hall, 735; Collier, i. 104; Brewer, iv. 1603; Brown, _Venetian Papers_, iv. 208; Cavendish, _Life of Wolsey_, i. 136. The characters further included ‘an oratur,’ a Poet, Religion, Ecclesia, Veritas, Heresy, False Interpretation, ‘Corrupcio Scriptoris,’ St. Peter, St. Paul, St. James, a Cardinal, two Serjeants, the Dauphin and his brother, a Messenger, three ‘Almayns,’ ‘Lady Pees,’ ‘Lady Quyetnes,’ ‘Dame Tranquylyte.’ Brandl, lvi suggests that the play might have been related to the _Ludus ludentem Luderum ludens_ of Johannes Hasenberg (1530), and the analysis of this piece given by Bahlmann, _L. D._ 48, shows that the two had several characters in common. Another anti-Luther play, the _Monachopornomachia_ (1538) of Simon Lemnius (Bahlmann, _L. D._ 70), appears to be distinct.

[657] Brown, _Venetian Papers_, iv. 229.

[658] Herbert of Cherbury, _Life of Henry VIII_ (Kennet, _Hist. of England_, ii. 173).

[659] Collier, i. 119, quoting Foxe, _Martyrologie_ (1576), 1339.

[660] Herford, 129; Mullinger, _Hist. of Cambridge_, ii. 74; Cooper, _Annals of Cambridge_, i. 422; J. Peile, _Christ’s College_, 48. The correspondence about the play between Gardiner and Parker is printed in full in J. Lamb, _Collection of Documents from C. C. C. C._ (1838), 49.

[661] Brewer, xii. 1. 557, 585.

[662] Bale, _Scriptores_, i. 702. Cf. also S. R. Maitland, _Essays on the Reformation_, 182.

[663] Brewer, xii. 1. 244; Collier, i. 128. ‘The Lorde make you the instrument of my helpe, Lorde Cromwell, that I may have fre lyberty to preche the trewthe.

I dedycat and offer to your Lordeshype A Reverent Receyving of the Sacrament, as a Lenton matter, declaryd by vj chyldren, representyng Chryst, the worde of God, Paule, Austyn, a Chylde, a Nonne callyd Ignorancy; as a secret thyng that shall have hys ende ons rehersyd afore your eye by the sayd chyldren.

The most part of the prystes of Suff. wyll not reseyve me ynto ther chyrchys to preche, but have dysdaynyd me ever synns I made a play agaynst the popys Conselerrs, Error, Colle Clogger of Conscyens, and Incredulyte. That, and the Act of Parlyament had not folowyd after, I had be countyd a gret lyar.

I have made a playe caulyd A Rude Commynawlte. I am a makyng of a nother caulyd The Woman on the Rokke, yn the fyer of faythe a fynyng, and a purgyng in the trewe purgatory; never to be seen but of your Lordshyp’s eye.

Ayde me for Chrystys sake that I may preche chryst.

Thomas Wylley of Yoxforthe Vykar fatherlesse and forsaken.’

[664] Brewer, xiv. 1. 22; Collier, i. 124.

[665] Foxe, _Acts and Monuments_ (ed. Cattley), v. 443, 446.

[666] Brewer, xvii. 79; Wilkins, iii. 860. About the same date a _Discourse_ (_Cotton MSS. Faustina_, C. ii. 5) addressed by Sir Richard Morison to Henry VIII is described by Brewer xvii. 707 as proposing ‘a yearly memorial of the destruction of the bishop of Rome out of the realm, as the victory of Agincourt is annually celebrated at Calais, and the destruction of the Danes at Hoptide (_sic_: cf. vol. i. p. 154). It would be better that the plays of Robin Hood and Maid Marian should be forbidden, and others devised to set forth and declare lively before the people’s eyes the abomination and wickedness of the bishop of Rome, the monks, friars, nuns and such like, and to declare the obedience due to the King.’ In 1543 the Lord Mayor complained to the Privy Council of the ‘licentious manner of players.’ Certain joiners, who were the Lord Warden’s players, were imprisoned and reprimanded for playing on Sunday (_P. C. Acts_, i. 103, 109, 110, 122).

[667] 34, 35 _Hen. VIII_, c. 1; Hazlitt, _E. D. S._ 3; Collier, i. 127. A proclamation of May 26, 1545 (Hazlitt, _E. D. S._ 6), states an intention to employ in the fleet ‘all such ruffyns, Vagabonds, Masterles men, Comon players and euill disposed persons’ as haunt ‘the Banke, and such like naughtie places,’ and forbids the retaining of servants, other than household servants or others allowed by law or royal licence. I have already (p. 185) called attention to the ambiguity of the term ‘comon player,’ and on the whole, in view of a reference in the proclamation to ‘theft and falsehood in play’ I think that gamblers are here in question. In any case the protected players were not suppressed.

[668] 1 _Edw. VI_, c. 12.

[669] _S. P. Dom. Edw. VI_, i. 5; Collier, i. 135.

[670] Kempe, 64, 74, with a list of personages for precisely such a play. W. Baldwin, on whom cf. pp. 194, 200, and _Modern Quarterly_, i. 259, was probably a dramatist of this temper.

[671] Brown, _Venetian Papers_, v. 347; cf. the letters between Gardiner and Somerset, quoted by Maitland, _Essays on the Reformation_, 228, from Foxe, vi. 31, 57.

[672] Hazlitt, _E. D. S._ 8; Collier, i. 142; Fuller, _Ch. Hist._ (1655), 391.

[673] 2, 3 _Edw. VI_, c. 1.

[674] Hazlitt, _E. D. S._ 9; Collier, i. 144. In 1550 ‘il plaiers’ were sought for in Sussex (_Remains_ of Edward VI, ii. 280). In 1551 the council gave Lord Dorset a licence for his players to play in his presence only (_P. C. Acts_, iii. 307). In 1552 Ogle sent to Cecil a forged licence taken from some players (_S. P. Dom. Edw. VI_, xv. 33).

[675] Holinshed (1808), iv. 61.

[676] Hazlitt, _E. D. S._ 15; Collier, i. 155; _P. C. Acts_, iv. 426.

[677] _S. P. Dom. Mary_, viii. 50; _P. C. Acts_, v. 234, 237; vi. 102, 110, 118, 148, 168, 169. In Feb. 1556 the council sent Lord Rich to inquire into a stage-play to be given at Shrovetide at Hatfield Bradock, Essex, and directed him to stop such assemblies. An order against strolling players who spread sedition and heresy came in May. In June, 1557, performers of ‘naughty’ and ‘lewd’ plays were arrested in London and Canterbury. An order forbade plays throughout the country during the summer. In August a ‘lewd’ play called a ‘Sackfull of News’ was suppressed at the Boar’s Head, Aldgate; and in September plays were forbidden in the city except, after licence by the ordinary, between All Saints and Shrovetide.

[678] The proclamation of 16 May 1559 is printed in Hazlitt, _E. D. S._ 19; Collier, i. 166; _N. S. S. Trans._ 1880-5, 17†. I do not think the proclamation loosely referred to by Holinshed (1587), iii. 1184, as at ‘the same time’ as another proclamation of 7 April is distinct from this. By 1 _Eliz._ c. 2 (the _Act of Uniformity_) the provision of 2, 3 _Edw. VI_, c. 1, against ‘derogation, depraving or despising’ the _Book of Common Prayer_ in interludes was re-enacted with a penalty of 100 marks.

[679] Cf. vol. i. p. 54.

[680] Guy, xxvii.

[681] B. Bernhard, _Rech. sur l’Hist. de la Corp. des Ménétriers ou Joueurs d’Instruments de la Ville de Paris_ (_Bibl. de l’École des Chartes_, iii. 377; iv. 525; v. 254, 339).

[682] Julleville, _Les Com._ 238.

[683] Morris, 12, 346; Rymer, xi. 642; Ribton-Turner, 109, 129, 133, 148, 182, 201; Ormerod, _Hist. of Cheshire_, i. 36; _Memorials of the Duttons_ (1901), 9, 209.

[684] _Carta le Roy de Ministralx_, in Dugdale, _Monasticon_ (1822), iii. 397, from _Tutbury Register_ in Coll. of Arms; Plot, _Hist. of Staffs._ (1686), ch. x. § 69.

[685] Rymer (1710), xi. 642, (1741) v. 2. 169.

[686] Percy, 372.

[687] _Analytical Index to Remembrancia of the City of London_, 92.

[688] Grove, _Dict. of Music_, s.v. Musicians; W. C. Hazlitt, _Livery Companies of London_.

[689] Civis, No. xxi.

[690] Poulson, _Beverlac_, i. 302 (probably from _Lansd. MS._ 896, f. 180).

[691] Leach, _Beverley MSS._ 179.

[692] Crowest, 244.

[693] _York Plays_, xxxviii. 125; M. Sellers in _Eng. Hist. Review_, ix. 284.

[694] So placed in the old MS.

[695] _Boor_—so spelt to accord with the vulgar pronunciation of the word _bower_.

[696] _Porte_—so spelt in the original. The word is known as indicating a piece of music on the bagpipe, to which ancient instrument, which is of Scandinavian origin, the sword-dance may have been originally composed.

[697] _Stour_—great.

[698] _Muckle tinte_—much loss or harm; so in MS.

[699] Something is evidently amiss, or omitted here. David probably exhibited some feat of archery.

[700] _Lout_—to bend or bow down, pronounced _loot_, as _doubt_ is _doot_ in Scotland.

[701] _Figuir_—so spelt in MS.

[702] _Agast_—so spelt in MS.

[703] _var. lect. anulas, agniculam, anniculam._

[704] _var. lect._ ulerioticos. Ducange explains _jotticos_ as ‘_ludi_, Gall. _jeux_.’

[705] _Ermuli._ Ducange, s.v., would read _hinnuli_. He says that Archbishop Ussher thought that the passage referred to the Saxon god Irminsul.

[706] _maida_ G. explains as _Backtrog_, i.e. ‘kneading-trough’ (Gk. μάκτρα); cf. Diez, _Etym. Wörterbuch_, s.v. madia; Körting, _Lat.-Rom. Wörterbuch_, No. 4980.

[707] MS. _fectum_.

[708] _Cod. Madrid_, Friga holdam; _var. lect._ unholdam.

[709] 709-709 _Omitted by Frere, probably because it was inconvenient to facsimile part only of a page._

[710] _Christu_m.

[711] et.

[712] Si_mi_li.

[713] _Omitted._

[714] dicat hoc modo.

[715] contingit.

[716] _Omitted._

[717] Deinde.

[718] _Omitted._

[719] Ungentes.

[720] Dilecti.

[721] 721-721 _Omitted: but a later hand has written on a margin of the manuscript_, Condimentis aromatum vnguentes corpus _sanc_t_issi_m_um_ quo p_re_ciosa.

[722] 722-722 _Omitted._

[723] reuoluit.

[724] appariat.

[725] _Omitted._

[726] dicat sic.

[727] _Omitted._

[728] gaudendo.

[729] dica_n_t sim_u_l.

[730] eas dicens.

[731] dicentes simul.

[732] deferens.

[733] 733-733 _Omitted._ _Lines 3-5 of the sequence are preceded by_ S_e_c_un_da Maria, _and lines 6-9 by_ Tercia Maria di_cat_.

[734] _Manly suggests_ mortuus.

[735] respondeat quasi.

[736] Tercia.

[737] et interim.

[738] _Omitted._

[739] dicentes hoc modo.

[740] audito.

[741] dicant.

[742] 742-742 _Omitted._

[743] Only a stage-direction, _Hic ludit_ [? _cadit_] _Lucifer de celo_.

[744] Imperfect.

[745] Jordan closes with an invitation to a _Redemptio_ on the morrow.

[746] Narrated.

[747] Duplicates.

[748] Misplaced.

[749] Imperfect.

[750] Late addition.

[751] Imperfect?

[752] And later fragment.

[753] Imperfect.

[754] J. Stuart, _Extracts from the Council Register of the Burgh of Aberdeen_, vol. i. 1398-1570 (Spalding Club, 1844).

[755] Dunbar, _Works_ (ed. J. Small, for Scottish Text Soc.), ii. 251.

[756] Hearne, _Liber Niger Scaccarii_ (ed. 2), ii. 598.

[757] B. H. Wortham, _Churchwardens’ Accounts of Bassingbourne_ (_Antiquary_, vii. 25); Lysons, _Magna Britannia, Cambridgeshire_, 89; Dyer, 343, from _Antiquarian Repertory_ (1808), iii. 320.

[758] C. B. Pearson, _Accounts of St. Michael’s, Bath_ (_R. Hist. Soc. Trans._ vii. 309).

[759] _Cant. Tales_, 6140 (_W. of B.’s Prol._ 558).

[760] L. T. Smith, _York Plays_, lxv.

[761] _Acta Sanctorum_, Maii, ii. 189; _Historians of the Church, of York_, i. 328 (Rolls Series, lxxi); Rock, ii. 430; A. F. Leach in _Furnivall Miscellany_, 206.

[762] A. F. Leach, _Beverley Town Documents_ (Selden Soc. xiv), l. lix. 33, 45, 75, 99, 109, 117; and in _Furnivall Miscellany_, 208; Poulson, _Beverlac_, i. 268 sqq., 302; _Lansdowne MS._ 896, f. 133 (Warburton’s eighteenth-century collections for a history of Yorkshire).

[763] A. F. Leach, in _Furnivall Miscellany_, 220.

[764] Corrie, _Boxford Parish Accounts_ (_Cambridge Antiq. Soc. Trans._ i. 266).

[765] Pearson, ii. 413; Morant, _History of Essex_ (1768), ii. 399.

[766] L. Toulmin Smith, _Ricart’s Kalendar_ (Camden Soc.), 80.

[767] L. G. Bolingbroke, in _Norfolk Archaeology_, xi. 336; _Eastern Counties Collectanea_, 272.

[768] _Hist. MSS._ xiv. 8, 133; Arnold, _Memorials of St. Edmund’s Abbey_ (R. S.), iii. 361.

[769] Masters, _Hist. of C.C.C. Cambridge_ (ed. 1753), i. 5.

[770] Hazlitt-Warton, iii. 302. The only reference given is ‘MSS. Rawlins. Bibl. Bodl. Oxon.’ Mr. F. Madan kindly informs me that the document cannot now be identified amongst the Rawlinson MSS.

[771] _Arch. Cantiana_, xvii. 147.

[772] _Ibid._ xvii. 80.

[773] _Hist. MSS. Comm._ ix. 1, 147.

[774] Pearson, ii. 414; _Freemasons’ Magazine and Magic Mirror_, Sept. 1861.

[775] Morris, 575.

[776] Morris, 317. Canon Morris does not say where he found the document. He dates it in ‘24 Hen. VIII, 1531.’ [The regnal year. 24 Hen. VIII, by the way, is 1532-3.] But the monastery is called ‘dissolved,’ which it was not until 1541. The list of Mayors (Morris, 582) gives William Snead (1516-7), William Sneyde (1531-2), William Sneyde, jun. (1543-4). Obviously two generations are concerned. The second mayoralty of the younger man was 1543-4. And the appointment of Newhall as clerk of the Pentice was in 1543 (Morris, 204). Oddly, Canon Morris’s error was anticipated in a copy of the proclamation made on the fly-leaf of _Harl. MS._ 2013 of the plays (Deimling, 1), which states that it was ‘made by Wᵐ newall, Clarke of the pentice [in R]udio 24, H. 8 [1532-3].’

[777] I reproduce Canon Morris’s text _literatim_. But he does not explain the square brackets, and I do not understand them.

[778] The ‘proclamation’ in the White Book is clearly a revision of the 1544 version. On the other hand, the Corpus Christi procession was suppressed in 1547. The ‘Banns,’ which include a pageant ‘of our lady thassumpcon’ not in the list of plays, are perhaps rather earlier.

[779] _Harl. MS._ 2150, ff. 85ᵇ-88ᵇ.

[780] It is this entry which shows that _Harl. MS._ 2150 is not the ‘White Book,’ but a copy. The official catalogue of the Harleian collection is in doubt on this point.

[781] So printed by Furnivall, possibly as an addition to the text of _Harl._ 1944, from the shorter copy of the _Breauarye_ in _Harl._ 1948.

[782] _Hist. MSS._ i. 49.

[783] C. L. Kingsford in _D. N. B._ s.v. Higden. Mr. Kingsford does not think that ‘Randle Heggenett,’ the author of the _Chester Plays_, can be identified with Higden. But ‘Higden,’ which occurs in Rogers’s list of Mayors, is an earlier form in the tradition than ‘Heggenett.’

[784] Ormerod, _Hist. of Cheshire_ (ed. Helsby), iii. 651; Morris, 315.

[785] Morris, 316. The Painters and Glaziers’ charter is quoted as calling them ‘tyme out of minde one brotherhood for the ... plaie of the Shepperds’ Wach,’ but no date is given.

[786] Ibid.

[787] _Harl. MS._ 2150, f. 85ᵇ.

[788] Morris, 318; Furnivall, xxv; _Hist. MSS._ viii. 1. 363, 366.

[789] Pennant, _Wales_, i. 145.

[790] Furnivall, xxii, xxviii.

[791] D. Rogers, _Breauarye_, in Furnivall, xviii; Morris, 303.

[792] Morris, 322, 353; Furnivall, xxvi.

[793] Morris, 322; Furnivall, xxvi; Collier, i. 112.

[794] Morris, 324; Furnivall, xxiii; Fenwick, _Hist. of Chester_, 370.

[795] Sharp, 8.

[796] C. L. Kingsford, _Henry V_, 346, says that he reached Coventry alone on March 15, and joined Katharine at Leicester on March 19. Ramsay, _Y. and L._ i. 290, quoting J. E. Tyler, _Henry of Monmouth_, ii. 28, gives the same dates. The entry in the _Leet Book_ (Harris, 139) brings him to Coventry on March 21 and with the queen. But this was Good Friday. If the _Leet Book_ is right, he might have remained for Hox Tuesday, April 1.

[797] Brewer, xiv (1), 77.

[798] _C. Mery Talys_, lvi (ed. Oesterley, 100).

[799] Heywood, _The Foure PP_, 831 (Manly, i. 510).

[800] Foxe, vi. 411; viii. 170; Maitland, _Essays on the Reformation_, 24.

[801] Sharp, 12, 39, 64, 75, 78; _Weavers’ Play_, 21.

[802] Sharp, 9; Hearne, _Fordun’s Scotichronicon_, v. 1450.

[803] Sharp, 157; Hearne, loc. cit.

[804] Sharp, 216.

[805] Sharp, 209; Halliwell-Phillipps, _Outlines_, ii. 296.

[806] Sharp, 159.

[807] J. T. Gilbert, _Calendar of Ancient Records of Dublin_, i. 239; ii. 54. Cf. Davidson, 222, and in _Modern Language Notes_, vii. 339.

[808] Harris, _Hist. of Dublin_, 147; J. C. Walker, _Hist. Essay on the Irish Stage_ (_Trans. Roy. Irish Acad._ ii (1788), 2. 75), from MS. of Robert Ware.

[809] Walker, loc. cit.; Sir James Ware, _Annales Rerum Hibern._ (1664), 161; _Variorum_, iii. 30, from MS. in Trin. Coll. Dublin. W. F. Dawson, _Christmas: its Origin and Associations_, 52, says that Henry II kept Christmas at Hogges in 1171 with ‘miracle plays.’ But I cannot find the authority for this.

[810] Gilbert, op. cit. i. 242.

[811] Matthew Paris, _Gesta Abbat. S. Albani_, ap. H. T. Riley, _Gesta Abbatum S. Albani_ (R. S.), i. 73; Bulaeus, _Historia Universitatis Parisiensis_, ii. 226; Collier, i. 13.

[812] J. D. Marwick, _Records of Edinburgh_ (Scottish Burghs Record Soc.), ii. 193 sqq.

[813] Kelly, 19.

[814] Pearson, ii. 413.

[815] L. G. Bolingbroke, _Pre-Eliz. Plays and Players in Norfolk_ (_Norfolk Archaeology_, xi. 338).

[816] _N. and Q._ xii. 210; Kelly, 68.

[817] _Hist. MSS._ xiii. 4. 300.

[818] _Hist. MSS._ xiii. 4. 288.

[819] R. Johnson, _Ancient Customs of Hereford_ (ed. 2. 1882), 119.

[820] _Hist. MSS._ xiii. 4. 352.

[821] Nichols, _Extracts from Churchwardens’ Accounts_, 175.

[822] W. Sandys, _Christmas Carols_, xc.

[823] G. Hadley, _Hist. of Kingston upon Hull_ (1788), 823.

[824] W. Andrews, _Historic Yorkshire_, 43; _Curiosities of the Church_, 19.

[825] J. Wodderspoon, _Memorials of the Ancient Town of Ipswich_ (1850), 161; _Hist. MSS._ ix. 1. 245.

[826] Nathaniel Bacon, _The Annalls of Ipswich_, 1654 (ed. W. H. Richardson, 1884), 102 and _passim_. Some additional notices are in _Hist. MSS._ ix. 1. 241 sqq.

[827] R. S. Ferguson, _A Boke of Record ... of Kirkbie Kendall_ (Cumb. and Westm. Arch. and Ant. Soc.), 91, 136.

[828] See s.v. Manningtree.

[829] Weever, _Funeral Monuments_, 405.

[830] I. Disraeli, _Curiosities of Literature_, Second Series, iii. 343.

[831] Bale, _Vocacyon to Ossory_ (1553), in _Harleian Miscellany_ (ed. 1745), vi. 402; (ed. 1808), i. 345.

[832] _Hist. MSS._ xi. 3. 165, 223, 224. The original documents appear to be in Latin.

[833] Harrod, _King’s Lynn Records_, 87.

[834] Cf. Appendix E (viii).

[835] Lysons, _Environs of London_, i. 229.

[836] See s.v. Kendal.

[837] Percy, _N. H. B._ 343, 345.

[838] Kelly, 27, 187. M. Bateson, _Records of Leicester_, ii. 297; J. Nichols, _History of Leicestershire_, iv. i. App. 378, 9.

[839] Kelly, 188.

[840] Kelly, 7.

[841] Kelly, 14, 16.

[842] Kelly, 15, 18, 19, 20; T. North, _Accounts of Churchwardens of St. Martin’s_, 2, 21, 74, 86, 87.

[843] Kelly, 193.

[844] _Lincoln Statutes_, ii. 15, 23.

[845] Cf. vol. i. p. 91.

[846] Wordsworth, 126, and in _Lincoln Statutes_, ii. lv. The entry given for 1452 in the latter omits ‘et Prophetis.’

[847] Wordsworth, 126.

[848] A. F. Leach, in _Furnivall Miscellany_, 223; Rock, ii. 430.

[849] Leach, loc. cit. 224.

[850] Wordsworth, 139.

[851] Leach, loc. cit. 224; _Lincoln Statutes_, ii. ccliv; _Hist. MSS._ xiv. 8. 25.

[852] Wordsworth, 141; Leach, loc. cit. 223, from _Chapter Act Book_, A. 31, f. 18; _Shaks. Soc. Papers_, iii. 40, from copy of same document in _Harl. MS._ 6954, p. 152. The latter has ‘Serenomium’ (for Ceremonium). Mr. Leach reads ‘Sermonium’ and translates ‘speech.’

[853] Leach, loc. cit. 227; _Gentleman’s Magazine_, liv. 103.

[854] J. C. Robertson, _Materials for the Hist. of Becket_ (R.S.), iii. 9.

[855] Dodsley, _Collection of Old Plays_ (1744), i. xii. I cannot trace the original authority.

[856] Malvern, _Continuator_ to _Higden’s Polychronicon_ (ed. J. R. Lumby in R.S.), ix. 47.

[857] Malvern, loc. cit. ix. 259. Probably this is the play for which the Issue Roll of the Exchequer for Easter—Michaelmas, 1391 (F. Devon, _Issues of the Exchequer, Hen. III-Hen. VI_, 244), records on July 11, 1391, a payment ‘to the Clerkes of the Parish Churches and to divers other clerkes of the City of London, in money paid to them in discharge of £10 which the Lord and King commanded to be paid them of his gift on account of the play of the Passion of our Lord and the Creation of the World by them performed at Skynner Well, after the Feast of Bartholomew last past.’ But the dates do not quite agree, and there may have been a play at Bartholomew-tide 1390 as well as that of July, 1391.

[858] _London Chronicle_, 80.

[859] _London Chronicle_, 91. The _Cott. MS._ reads ‘Clerkenwelle’ for the ‘Skynners Welle’ of the _Harl. MS._ _Gregory’s Chronicle_ (_Hist. Coll. of a Citizen of London_, Camden Soc.), 105, also mentions ‘the grette playe at Skynners Welle’ in 1409.

[860] J. H. Wylie, _Hist. of Henry IV_, iv. 213.

[861] J. G. Nichols, _Grey Friars Chronicle_ (Camden Soc.) 12; R. Howlett, _Monumenta Franciscana_ (R.S.), ii. 164.

[862] J. Christie, _Some Account of Parish Clerks_, 24, 71.

[863] H. Morley, _Memoirs of Bartholomew Fair_, 15.

[864] Stowe, _Survey_, 7.

[865] Andrew, _Annales Henr. VII_ (R.S.), 121.

[866] Collier, in _Shakesp. Soc. Papers_, iii. 40. The ‘pagents’ on a roll of vellum belonging to the Holy Trinity Guild in St. Botolph’s, Bishopsgate (†1463), were probably only paintings with descriptive verses (Hone, 81).

[867] Kempe, 71. The date given, Shrovetide, 38 Hen. VIII, must be wrong, as the king died before Shrovetide (Feb. 20-2) in the thirty-eighth year of his reign.

[868] Herbert, _Hist. of Livery Companies_, i. 80.

[869] E. B. Jupp, _Hist. of Carpenters’ Company_, 198.

[870] Collier, i. 51.

[871] Machyn, 138.

[872] Machyn, 145.

[873] Prynne, 117.

[874] Stowe, _Annales_, 489; _Survey_, 38; Herbert, i. 197, 454; Brand-Ellis, i. 166.

[875] R. W. Goulding, _Louth Records_.

[876] _Hist. MSS._ v. 517.

[877] _Manningham’s Diary_ (Camden Soc.), 130.

[878] Heywood, _Apology for Actors_ (Shakespeare Soc.), 61.

[879] Quoted in _Variorum_, xvi. 295.

[880] Dekker’s _Plays_ (ed. Pearson).

[881] Hazlitt-Warton, iii. 312.

[882] Harrod, _King’s Lynn Records_, 88.

[883] W. Hobhouse, _Churchwardens’ Accounts_ (Somerset Record Soc.), 209.

[884] F. Holthausen, _Das Noahspiel von N. upon T._ (1897), 11; H. Bourne, _Hist. of N._ (1736), 139; J. Brand, _Hist. of N._ (1789), ii. 369; E. Mackenzie, _Hist. of N._ (1827), ii. 664, 707; F. W. Dendy, _Newcastle Gilds_ (Surtees Soc.), i. 4; ii. 161, 164, 171.

[885] W. A. Scott-Robertson, _The Passion Play and Interludes at New Romney_ (_Archaeologia Cantiana_, xiii. 216); _Hist. MSS._ v. 533; _Arch. Cantiana_, xvii. 28.

[886] C. A. Markham and J. C. Cox, _Northampton Borough Records_, ii. 184.

[887] _Paston Letters_, iii. 227.

[888] H. Harrod, _Particulars concerning Early Norwich Pageants_ (_Norfolk Archaeology_, iii. 3).

[889] R. Fitch, _Norwich Pageants: The Grocers’ Play_, in _Norfolk Archaeology_, v. 8, and separately.

[890] Fitch, op. cit.; Blomfield, _Hist. of Norfolk_, iii. 176.

[891] Blomfield, iv. 426.

[892] Cf. vol. i. p. 222.

[893] Cf. Appendix E (v).

[894] W. Hobhouse, _Churchwardens’ Accounts_ (Somerset Record Soc.), 232.

[895] Norris, ii. 452; E. H. Pedler in Norris, ii. 507; Carew, _Survey of Cornwall_; D. Gilbert, _History of Cornwall_; Borlase, _Antiquities of Cornwall_ (ed. 2), 207; _Nat. Hist. of Cornwall_, 295; T. F. Ordish, _Early London Theatres_, 15.

[896] See s.v. Kendal.

[897] W. A. Abram, _Memorials of the Preston Guilds_, 18, 21, 61, 99.

[898] C. Kerry, _History of St. Lawrence, Reading_, 233. Extracts only from the accounts are given; a full transcript would probably yield more information.

[899] W. H. R. Jones, _Vetus Registrum Sarisburiense_ (R.S.), ii. 129.

[900] _Cal. State Papers, Dom. Addl._ (1580-1625), 101.

[901] Jones and Macray, _Salisbury Charters_ (R.S.), xi, 102.

[902] Cf. Appendix E (vi).

[903] Phillips, _Hist. of Shrewsbury_, 201.

[904] Phillips, 201.

[905] Owen and Blakeway, _Hist. of Shrewsbury_, i. 328.

[906] _Shropshire Arch. Soc. Trans._ viii. 273.

[907] F. A. Hibbert, _Influence and Development of English Craft Guilds_ (1891). 113.

[908] _Add. MS._ 28,533, ff. iᵛ, 2. _Computi_ from 1477 to 1545 are in this MS.; but most of them are very summary.

[909] _York Plays_, lxv.

[910] G. Oliver, _Hist. of Holy Trinity Guild at Sleaford_ (1837), 50, 68, 73, 82.

[911] Cf. Appendix E (vii).

[912] Collier, ii. 67.

[913] Hobhouse, 184.

[914] Hazlitt-Warton, iii. 163, from _Register_ of St. Swithin’s. This is amongst the _Wulvesey MSS._, now in the possession of the Ecclesiastical Commissioners (_York Plays_, lxv). The date is given as 1487 by Hazlitt-Warton, but the visit is said to be that ‘on occasion of the birth of Prince Arthur,’ which took place in the autumn of 1486.

[915] _London Chronicle_, 159.

[916] Cf. e.g. _Durham Accounts_, i. 95, 101, 105 ‘Soteltez ... Sutiltez ... Suttelties erga Natale.’

[917] E. Picot, in _Romania_, vii. 245.

[918] _Hist. MSS._ xiv. 8, 187.

[919] Halliwell-Phillipps, i. 342; Toulmin Smith, _Ordinances of Worcester_ in _English Guilds_, 385, 407 (E. E. T. S.).

[920] _Norfolk Archaeology_, ix. 145; xi. 346.

[921] A. Nevyllus, _De furoribus Norfolciensium Ketto Duce_ (1575), i. 18; Holinshed (1587), iii. 1028.

[922] L. G. Bolingbroke, in _Norfolk Archaeology_, xi. 334.

[923] _Lincoln Statutes_, ii. 98; cf. _Use of Sarum_, i. xxii*.

[924] Cf. p. 409.

[925] _York Plays_, xxxv, xli; _Arch. Review_, i. 221.

[926] Drake, _Eboracum_, App. xxix; Davies, 243; _York Plays_, xxxiv. Melton is called ‘sacrae paginae professor,’ which Drake and many light-hearted scholars after him, down to A. W. Ward (ed. 2, 1899), i. 53, translate ‘professor of holy pageantry.’ The ‘sacred page,’ however, is the Bible, and the title = S.T.P., or D.D.

[927] Davies, 245.

[928] _Antiquary_, xxiii. 29.

[929] _York Plays_, xxi, 125; _E. H. R._ ix. 285.

[930] Wyclif, _English Works_, ed. Mathew (E. E. T. S.), 429.

[931] _York Plays_, xxix; Toulmin, _English Gilds_ (E. E. T. S.), 137.

[932] _Antiquary_, xxii. 265.

[933] Halliwell, _Letters of the Kings of England_, i. 354, from a Latin original in the _Bodl. Rawlinson MSS._

[934] Davies, 263.

[935] Davies, 273; _Arch. Review_, i. 221.

[936] Printed in _York Plays_, xix.

[937] Printed in Davies, 233.

[938] W. Andrews, _Yorkshire in Olden Times_, 105, 146.

[939] _D. N B._ s.v. Hegge. _Poems of Richard James_ (ed. Grosart, xxii); T. Fowler, _Hist. of C. C. C._ 175, 183, 394.

[940] Dugdale, _Hist. of W._ (1656), 116. A not materially different version, from Dugdale’s MSS., is given by Sharp, _Dissertation_, 218. Nor does Sharp, in the account of the Grey Friars in his _Hist. and Antiq. of Coventry_ (1817), add any information as to their plays.

[941] Hearne, _Fordun’s Scotichronicon_, v. 1493 (from MS. of _Annals_, penes Thomas Jesson of Ch. Ch.) ‘This yeare the King came to se the playes acted by the Gray Friers and much commended them.’ The mayoral list in this text of the _Annals_ goes to 1675. It is probably another that Sharp, _Diss._ 5, quotes as making the same statement and describes as ‘not older than the _beginning_ of Charles I’s reign.’ He does not give the full entry. Is it the basis of Mr. Fretton’s addition to the 1871 ed. of Sharp’s _Hist. and Antiq. of Cov._ 202 ‘1492. Henry 7th and his Queen saw the Plays at Whitsuntide’? Can ‘by the Gray Friers’ mean ‘at a station by the convent’? In the Carpenters’ accounts for 1453 is an item ‘for the mynstrell at the frerˢ.’ This, says Sharp, _Diss._ 213, relates to the craft’s annual dinner held at the White Friars. There is no other possible allusion to friars’ plays in Mr. Sharp’s extracts.

[942] Ten Brink, iii. 276; Sharp, 45.

[943] Hohlfeld, in _Anglia_, xi. 228.

[944] The term ‘pageant’ is once used in the stage-directions (Halliwell, 132) ‘Hic intrabit pagentum de purgatione Mariae et Joseph.’

[945] Ten Brink, ii. 283; Pollard, xxxvii. Hohlfeld (_Anglia_, xi. 228) combines two theories by suggesting that the Coventry Grey Friars were driven by the popularity of the rival craft-plays to travel.

[946] Holthausen, 16.

[947] F. W. Denby, _Newcastle Gilds_ (Surtees Soc.), ii. 165, 168.

[948] _Norfolk Archaeology_, iii. 3.

[949] _Collectanea_ (Oxf. Hist. Soc.), i. 130.

SUBJECT INDEX

[This index is almost wholly confined to the text, and only includes the principal passages dealing with each subject. I am sorry not to have been able to prepare a local or a nominal index. The want of the former may be in part met, so far as the miracle-plays are concerned, by the topographical list of representations in Appendix W.]

_A l’entrada dal tens clar_, i. 170.

_Abbayes joyeuses_, i. 375, 383.

Abbesses, mock, i. 361.

Abbot, of Bon-Accord, i. 173, ii. 333; of Marham, i. 173, ii. 250; of Misrule, i. 403; of Unreason, i. 181, ii. 335.

_Abraham and Isaac_, plays of, ii. 130, 426.

_Abrenuntiatio_, i. 19, 97.

_Absalon_ of Thomas Watson, ii. 195, 458.

Account-books, extracts from, on minstrelsy and plays, ii. 234, 240.

_Acolastus_, of Gnaphaeus, ii. 217; of John Palsgrave, 459.

_Actio_, term for miracle-play, ii. 105.

Actors, a perplexity to Roman government, i. 3, 7; punished for satire, 5; private performances of, 7; _infamia_ of, 8, 12, 14, 16; hostility of, to Christianity, 10; become minstrels, 24; in miracle-plays, regulations for, ii. 114; payment of, 139; professional, under Tudors, 186, 225; the King’s, 187, 201; economic _status_ of, under Elizabeth, 225.

_Actus_, term for miracle-play, ii. 105.

_Adam_, ii. 70; analysis of, 80; vernacular mingled with Latin in, 89.

Adam le Boscu, minstrel in 1306, i. 47.

Adan de la Hale, plays of, i. 171, 381.

Adoptionist controversies, and Christmas, i. 240.

_Adoratio Crucis_, ii. 16.

Advent, i. 247; liturgical drama in, ii. 62, 67.

Agricultural festivals. _See_ Feasts, Village festivals.

Agriculture, begun by women, i. 106; religion of, 106, 109.

_Aguilaneuf_, i. 254.

Alcuin, his dislike of minstrelsy, i. 32, 35.

Ales, i. 179.

Allegory in mediaeval drama, ii. 151.

Alleluia, funeral of, i. 186.

All Saints’ day, i. 247, 265.

All Souls’ day, i. 247, 265.

_Altercatio Ecclesiae et Synagogae_, ii. 64, 152.

_Amour_, _Prince d’_, at Middle Temple, i. 416.

Ancestors, cult of, at New Year, i. 264.

Andrew, St., his day, i. 232.

_Andria_ of Terence, ii. 215, 456.

_Anglo-Saxon Chronicle_, songs in, i. 31.

Anglo-Saxons, non-professional singers of, i. 64.

Animals, cult of, i. 131.

Animism, i. 103.

Anne, St., miracle-plays on her day, ii. 118, 127, 130.

Annunciation, dramatic ceremonies at, ii. 66.

Annunciation style, i. 246.

_Antichristus_, liturgical play of, ii. 62, 151.

_Antiphonarium_ of Gregory the Great, ii. 7.

Antiphons, nature of, ii. 6.

_Apfeln-Bischof_, i. 369.

Apostles, feast of, at Beauvais, i. 287; at Sens, 288.

Aquinas, on minstrels, i. 58.

_Archipropheta_ of Grimald, ii. 451.

Armenians, on birthday of Christ, i. 239.

_Armiger_, title of minstrel, i. 50, ii. 139.

Aryan and pre-Aryan in folk-lore, i. 101.

Ascension, feast of, i. 114; dialogued trope for, ii. 11; dramatic ceremony at, 65; miracle-play at, 129.

_Asotus_ of Macropedius, ii. 217.

Ass, ears of, worn by ‘fools,’ i. 385; liturgical drama, ii. 57. _See_ _Palmesel_.

Asses, feast of, i. 275, 282, 304, 305, 320, 330, 374, 377. _See_ Prose of Ass.

Atellanes, i. 2, 4.

_Aubes_, i. 78, 171.

_Aucassin et Nicolete_, i. 42, 45, 74.

_Auctor_ of plays, i. 83.

Augustine, St., and theatre, i. 12, 17; a character in miracle-plays, ii. 72, 77.

Ausonius, his _Ludus Septem Sapientum_, ii. 212.

Authorship of miracle-plays, ii. 144.

_Autos Sacramentales_, ii. 95, 105.

_Baculus_, feast of, i. 276, 279, 283, 289, 309, 319, 325, 345.

Balaam, episode of, in _Prophetae_, ii. 55, 72.

Baldwin, William, his plays, ii. 194, 200.

Bale, John, ii. 131, 144, 220, 222, 224, 446.

Ball, tossed at festivals, i. 128; at Feast of Fools, 327; struggle for, in games, meaning of, 149.

Ballad, in Elizabethan age, i. 69.

_Ballationes_, i. 161.

‘Banns’ of miracle-plays, ii. 114, 122, 140, 144.

Barbarian indifference to theatre, i. 19, 21.

Bards, classes of, i. 76.

‘Barring-out,’ i. 263.

_Barritus_ of Germans, i. 26.

Bartholomew Fair, puppet-shows at, ii. 158.

_Basoches_, i. 375.

_Bastaxi_, i. 71.

Baston, Robert, his _tragoediae_, ii. 211.

Bathing at folk-festivals, i. 122.

Battle, mock, in folk-drama, i. 187, 210. _See also_ _Débats_.

Bauble of fool, i. 385.

Bean, king of, i. 260, 408.

‘Bearing the book,’ ii. 140.

Bearwards, i. 68, 72.

Beast-dances, i. 166.

Beast-mimicry, by minstrels, i. 71.

‘Beating the bounds,’ i. 120, 143.

_Beauty and Good Properties of Women_, ii. 455.

Beelzebub, in Plough Monday play, i. 209; in St. George play, 214.

Befana, i. 268.

Bel, cult of, in Bohemia, i. 253.

Bells, in morris-dance, i. 200; in sword-dance, 201.

_Beltane_, i. 111, 133, 138, 143.

Belus, cult of, in Europe, i. 112, 234.

Benedictbeuern manuscript, liturgical plays in, ii. 37, 39, 40, 72, 76.

_Benedictio fontium_, i. 124.

_Beowulf_ i. 29; sword-dance in, 191.

‘Bessy’ in sword-dance, i. 192, 194, 198, 206, 210.

‘Bezant’ procession, i. 119.

Bilingual religious plays, ii. 89, 108.

‘Bishops’ of Fools, i. 295, 326, 368. _See_ Feast of Fools, _passim_.

Black faces at folk-festivals, i. 125, 154, 199, 214.

Blood, importance of, in sacrifice, i. 132, 138.

_Blôt-monath_, i. 256.

Boar, sacrificial animal at New Year, i. 257.

Bon Accord, abbot of, i. 173, ii. 333.

_Bordeors Ribauz, Des Deus_, i. 67, 79, 85.

_Bouffons_, _danse des_, i. 191.

‘Box-holder’ in St. George play, i. 217.

Boy Bishop, sermons of, i. 356; in schools and universities, 362; disliked by Reformation, 366; customs of, resemble Feast of Fools, 368; in religious drama, ii. 72.

Boy Bishop, at Sens, i. 344; at Rouen, 345; at Bayeux, 345; at Coutances, 346; at Tours, 347; at Toul, 347; in France generally, 349; at Noyon, 350; in Spain, 350; in Germany, 350; at Salisbury, 352, ii. 282; at Exeter, i. 354; at St. Paul’s, 354; at York, 356, ii. 287; at Beverley, i. 357; at Lincoln, 358; vogue of, in England, 358; at Westminster, 360; at Durham, 360; at Winchester, 361.

Boys, feast of. _See_ Boy Bishop.

_Braies_, _fête de_, at Laon, i. 302; _roi de_, 373.

Breri, a _fabulator_, i. 77.

Broom, in St. George play, i. 215.

Brothelyngham, order of, at Exeter, i. 383.

_Brumalia_, i. 234.

_Buffons_, _les_, name for morris-dance, i. 200.

Buffoons. _See_ Fools, Minstrels.

_Bufos_, i. 63.

Bull-baiting, origin of, i. 141, 257.

_Burial and Resurrection_, ii. 129, 431.

‘Burial of Carnival,’ i. 186.

Burlesque of worship at Feast of Fools, i. 280, 286, 294, 296, 325, 381.

Cabham, Thomas de, his classification of minstrels, i. 59, ii. 262.

Cakes at festivals, i. 133, 142, 260.

Calendar, origins of, i. 110, 229, 232.

_Calisto and Meliboea_, ii. 455.

Candlemas, i. 114, 126, 163, 251.

_Cantica_, i. 161, 169.

_Canticum triumphale_, ii. 74.

_Cantilenae_, of folk and _scôp_, i. 26; on heroes, 163, 167; of sword-dance, 192.

Carnival, i. 114, 121; ‘burial’ of, 186.

_Caroles_, i. 164, 272.

‘Carping,’ of minstrels, i. 72.

_Cartuaitheail_, i. 129.

_Castle of Perseverance_, ii. 155, 437.

Catherine, St., her day, i. 247; plays on legend of, ii. 64, 107, 133.

‘Catherning,’ i. 253.

Cawarden, Sir Thomas, i. 405.

Censorship of stage, ii. 225.

Cereal sacrifices, i. 133; survival of in folk-festivals, 142, 260.

_Ceri_, procession of, at Gubbio, i. 119.

_Cernunnos_, i. 259.

_Cervulus_, i. 258, 330.

_Chansons_, of minstrels, i. 73; _de gestes_, 74; dramatic elements in, 77; _de carole_, 164; _à danser_, 171; _de mal-mariées_, 171.

Chanteloup, Walter de, attacks folk-_ludi_, i. 91.

Chapel Royal, plays by, ii. 193, 202.

_Charivari_, i. 153, 379.

Charlemagne, and heroic song, i. 26; a patron of minstrels, 36.

_Charlot et le Barbier_, of Rutebeuf, i. 79.

Charms, i. 121.

Chaucer, a typical _trouvère_, i. 64; interludes based on, ii. 205.

Cheke, Henry, his _Freewill_, ii. 461.

‘Chekkar,’ minstrels of, at Scottish court, i. 50.

_Chester Plays_, ii. 407.

_Chevauchées_, i. 153, 379.

Children, inheritors of folk-customs, i. 152; place of, in winter feasts, 263.

Chimney-sweeps, their connexion with May-day, i. 125.

Choir-boys, miracle-plays acted by, ii. 121.

_Chori_, in folk-dance and song, i. 27, 163.

Christianity, elements of, in folk-custom, i. 249.

Christmas, St. George play at, i. 226; origin of, 238; in Saxon England, 244; New Year customs at, 246; in mediaeval England, 390; masques at, 391; at universities, 407; at inns of court, 413; dialogued tropes for, ii. 8, 11, 41; _praesepe_ at, 42; liturgical plays at, 41; miracle-plays at, 70, 129.

Christmas-boxes, i. 271.

Christmas-flowering trees, i. 252.

Christmas lord. _See_ Misrule, lord of.

‘Christmas,’ Old Father, in St. George play, i. 216.

Christmas Prince, at St. John’s College, Oxford, i. 408.

Christmas trees, i. 251.

Christopherson, John, his _Jephthes_, ii. 218.

Χριστὸς Πάσχων, ii. 206.

_Christus Redivivus_ of Grimald, ii. 450.

_Christus Triumphans_ of John Foxe, ii. 458.

Chrysostom, St., and theatre, i. 15; and _pantomimi_ at banquets, 24; and Kalends, 244.

Churches, dances in, i. 163; ‘clipping’ of, 166; miracle-plays in, ii. 79, 134; interludes in, 191.

Churchyards, miracle-plays in, ii. 134.

Circular movement as sun-charm, i. 129.

Circumcision, feast of, i. 245, 330. _See_ New Year, Kalends, Feast of Fools.

_Cithara_, i. 73.

Classical plays, Renascence performances of, ii. 214.

‘Clemencing,’ i. 253.

Clement, St., his day, i. 247.

Clergy, their share in miracle-plays, ii. 117, 120.

_Clerico et Puella, Interludium de_, i. 86, ii. 181; text of, ii. 324.

Clerks’ plays, ii. 104, 140, 202.

‘Clipping the church,’ i. 166.

Cockneys, king of, at Lincoln’s Inn, i. 414.

Cocks-comb, worn by fools, i. 385.

_Columpnarium_, ii. 213.

Comedy, on Roman stage, i. 2; extinction of classical, ii. 207; mediaeval sense of term, 209; humanist revival of, 212; in Tudor interlude, 215.

_Compagnies des fous_, i. 373. _See_ _Sociétés joyeuses_.

_Complaint of Deor_, i. 29.

_Computi_, extracts from, on minstrelsy and plays, ii. 234, 240.

_Concordia Regularis_, ii. 14, 306.

_Conductus_, i. 282.

Conduits, filled with wine, ii. 166; pageants on, 173.

_Conflict of Vice and Virtue_, ii. 153.

_Confrérie de la Passion_, ii. 88.

_Confréries_, for Feast of Fools, i. 373.

Constance, council of, performance of _Stella_ at, ii. 101.

_Contes_, i. 74.

_Contrafazedor_, i. 82.

Controversy, religious, in drama, ii. 217.

Conversion of England, i. 95.

_Coquille_, _seigneur de la_, i. 374.

Corbeil, Pierre de, and the Feast of Fools, i. 281, 287.

_Cornards_, i. 374, 384.

Coronations. _See_ Entries.

Cornish plays, ii. 127, 433.

Corporations, their control of miracle-plays, ii. 114; their expenses, 115; plays sometimes produced by them, 118.

Corpus Christi, miracle-plays at, ii. 77, 94, 108, 112, 138, 160; procession at, 138, 160, 329; guilds of, 118.

Corraro, his _Progne_, ii. 212.

‘Cosmic’ dramas. _See_ Cycles.

Costume, of minstrels, i. 44; at folk-festivals, 185; in St. George play, 219; of fools, 384; in miracle-plays, ii. 122, 141.

Court, the English, minstrels at, i. 47, ii. 234; fools at, i. 386; Christmas at, 390; revels and disguisings at, 391; lord of misrule at, 403; master of revels at, 404; miracle-plays at, 397, ii. 130, 184; interludes at, 186, 192.

_Courtois d’Arras_, i. 79.

Courts of minstrelsy, i. 54.

Coventry, plays at, ii. 422. _See_ _Ludus Coventriae_.

_Cradle of Security_, ii. 189, 200.

Craft-guilds, miracle-plays maintained by, ii. 111, 113, 115; levies on members of, 116; appropriateness of plays to occupations of, 118, 131; and Corpus Christi procession, 162.

_Creation of the World_ of W. Jordan, ii. 435.

_Creed Play_, ii. 120, 130.

‘Creeping to the cross,’ ii. 17.

‘Crib’ at Christmas, i. 272, 333, ii. 42, 157.

Cromwell, and Protestant interludes, ii. 220.

Croxton _Sacrament_ play, ii. 427.

Cucking-stool, i. 122.

Cuckoo, the herald of summer, i. 188.

Cues, ii. 144.

Cult, its permanence, i. 99.

Cycles of miracle-plays, formed by expansion and merging, ii. 72; become ‘cosmic’ drama, 77; spread over successive days or years, 86, 130; popularity of in England, 113; their subject-matter, 125, 321.

_Cynewulf_, a _scôp_, i. 31.

Dance, a form of play, i. 160; attacked by Church, 161; in churches, 162; at folk-festivals, 163, 272; in Middle Ages, 164; processional and circular, 164; dramatic tendency of, 188; at Feast of Fools, 326; in miracle-plays, ii. 141. _See_ Morris-dance, Sword-dance.

_Dance of Death_, ii. 153.

Dancers, in Rome, i. 6, 9; as minstrels, 71.

Dancing sun, at Easter, i. 129.

Daniel, liturgical plays on, ii. 58, 60.

_Danse des bouffons_, i. 191.

Dati, his _Hiempsal_, ii. 212.

_Daurel et Beton_, i. 67.

Deacons, feast of, on St. Stephen’s day, i. 336.

Dead, feast of, i. 228, 247, 264.

_Deasil_, i. 123, 129, 165.

_Death_, _Dance of_, ii. 153.

Death, expulsion of, i. 183.

Death, mock, in sword-dance, i. 206; in folk-plays, 210, 213, 219.

_Débats_, i. 79, 187; and moralities, ii. 153; acted as interludes, 201.

‘Decoration’ at New Year, i. 251.

Dedication of churches, wake on day of, i. 96, 114; dramatic ceremony of, ii. 4.

Dee, John, play translated by, ii. 195.

_Degollada_, _la_, figure in sword-dance, i. 204.

_Depositio Crucis_, ii. 17.

_Deposuit_, feast of, i. 277, 306, 309, 325, 339, 345, 376.

_Descensus Christi ad inferos_, dramatic treatment of, ii. 73.

_Destruction of Jerusalem_, play on, ii. 132.

_De Symbolo_, pseudo-Augustinian sermon, ii. 52.

Devils, in miracle-plays, ii. 91, 148.

_Devozioni_, ii. 92.

Dialogues, in Anglo-Saxon literature, i. 80; in minstrelsy, 77; in liturgical tropes, ii. 8; recited in schools, 212.

Dice, a temptation to minstrels, i. 48, 60; played at mummings, 394.

_Digby Plays_, ii. 428.

Disguisings, i. 393, 400. _See_ Mummings, Masques, Drama, Interludes.

_Disobedient Child, The_, of Ingelend, ii. 214, 223, 456.

_Disours_, i. 75, 387.

_Dit des Taboureurs_, i. 63.

_Dits_, i. 74.

Doctor, in folk-drama, i. 185; in sword-dances, 207; in Plough Monday play, 210; in St. George play, 213, 218, 226.

_Doctors de trobar_, i. 63.

Domestic feast at New Year, i. 262.

_Domus_ of religious plays, ii. 79, 83, 136.

Donaueschingen, stage of Passion-play at, ii. 84.

_Dout_, i. 217.

‘Ducking’ at folk-festivals, i. 122; at Feast of Fools, 298, 307, 313, 327.

Dumb-show, in folk-drama, i. 211.

Dracontius, his _Orestes_, ii. 209.

Dragon, in morris-dance, i. 196; in St. George play, 212, 217, 226.

Drama, decay of, at Rome, i. 3; elements of, in minstrelsy, 77; developed from _pastourelles_, 171; at English May-games, 177; folk-element in, 182; relation of, to dance, 188; magical efficacy of, 192; influence of schoolmaster on, 202; at Feasts of Fools and Boy Bishop, 380; element of, in liturgy, ii. 3; process of secularization in, from thirteenth century, 69; expansion of, 69; brought outside the church, 79; acted by lay guilds, 87; vernacular introduced into, 88; vogue of devils in, 91; at feast of Corpus Christi, 95; processional type of, 95; liturgical survivals in, 96; passes into interlude, 180; mediaeval confusion as to nature of, 208; controversial use of, at Reformation, 216. _See_ Actors, Comedy, Folk-drama, Interludes, Liturgical plays, Miracle-plays, Moralities, Tragedy, &c. &c.

_Draw a Pail of Water_, i. 124.

_Droichis Part of the Play_, assigned to Dunbar, ii. 454.

Druids, i. 251.

Dunbar, his banns for a May-game, ii. 454.

Durham Priory, extracts from accounts of, ii. 240.

Dwarf effigies, i. 353.

Earth-goddess, i. 105; cult of, in India, 149, ii. 266; swine sacrificed to, i. 257; as ruler of dead, 264.

Easter, i. 114; folk-customs at, 124, 126, 128, 150, 156, 157, 163, 165, &c.; St. George play at, 226; dialogued tropes for, ii. 9; religious drama at, 15, 27, 73, 129. _See_ _Quem quaeritis_, _Peregrini_.

Easter sepulchre. _See_ Sepulchre.

_Ecerinis_ of Mussato, ii. 211.

Edward I, his Pentecost feast, minstrels at, i. 47, ii. 234.

Edward VI, his _De Meretrice Babylonica_, ii. 218, 222.

Eggs, at Easter, i. 128; in _Quem quaeritis_, ii. 36.

‘Elegiac’ comedies and tragedies, ii. 212.

_Elevatio Crucis_, at Easter, ii. 17, 20.

_Elisaeus_, liturgical play of, ii. 60.

Eltham, mummings at, i. 395, 397.

_Enfants-sans-Souci_, i. 374, 382.

English, John, a player, ii. 187.

_Enseignamens por Joglars_, i. 67.

Entries, royal, pageants at, ii. 166, 174, 336; elements from miracle-plays and moralities in, 172.

Eostre, i. 108.

‘Epic’ comedies and tragedies, ii. 212.

Epicharmus, his mimes, i. 2.

_Epinette_, _roi de l’_, i. 373.

Epiphany, early significance of, i. 239; subordinated to Christmas, 244; New Year customs at, 247, 260; Feast of Fools at, 323; religious drama at, ii. 44, 129. _See_ _Stella_.

_Episcopus puerorum_, or _Nicholatensis_, i. 369. _See_ Boy Bishop.

Erasmus, his sermon for Boy Bishop, i. 356.

_Erberie_, _Dit de l’_, of Rutebeuf, i. 33, 85.

Erce, i. 108.

_Ermulus_, i. 258.

_Esclaffardi_, i. 290, 315, 323.

Esem Esquesem, in Plough Monday play, i. 210.

_Estrifs_, i. 81. _See_ _Débats_.

Ethelwold, St., author of _Concordia Regularis_, ii. 14, 307.

Ethnology, of Europe, i. 101; in folk-custom, 270.

_Étourdis_, _prévot des_, i. 373.

_Étrennes._ _See_ _Strenae_.

Evergreens, as representing fertilization spirit, i. 251.

_Everyman_, _Summoning of_, ii. 155, 217, 439.

_Exemplum_, term for religious play, ii. 104.

Exeter, order of Brothelyngham at, i. 383; fourteenth-century theatre at, 383, ii. 190.

Expulsion of Death, i. 183.

_Fabliaux_, i. 43, 74.

‘Faddy’ dance at Helston, i. 119, 165.

Fall, the, introduced into religious drama, ii. 71, 77.

Family, feast of, at New Year, i. 262.

Farce, vogue of, at Rome, i. 2, 4; played by minstrels, 83; in fifteenth-century France, ii. 197; in interludes, 202.

_Farsura_, i. 277.

_Fasching_ in sword-dance, i. 192.

_Fastnachtspiele_, i. 382.

_Fatui._ _See_ Fools.

‘Feasten’ cakes, i. 133, 142, 236, 260.

Feasts, of primitive Europe, i. 110; village, customs of, 116; play at, 146; at beginning of winter, 228; in mid-winter, 234; between harvest and New Year, 247. _See_ Asses, Feast of; Fools, Feast of.

Ferrers, George, i. 405.

Fertilization spirit, in winter customs, i. 250.

_Feuillée_, _Jeu de la_, of Adan de la Hale, i. 381.

Fire, not taken from house at New Year, i. 217, 238, 269.

Fires at folk-festivals, i. 125, 255; in pestilence, 127; at Feast of Fools, 327.

‘First foot,’ i. 270.

Flagellants, and mediaeval drama in Italy, ii. 92.

Fleury, liturgical plays at, ii. 32, 37, 50, 59, 60, 61.

Flight into Egypt, representations of, i. 287, 333.

_Floralia_, a festival at Rome, i. 5.

Flower-dances, i. 166.

Flytings, i. 80.

Folk-drama, i. 182; relation of, to sword-dance, 207, 218.

Folk-elements, in Feast of Fools, i. 298, 326; in miracle-plays, ii. 91, 120, 147; in royal entries, 172.

Folk-medicine, i. 117, 123.

Folk-song, of Teutons, i. 25; adapted by minstrels, 78; as source of _débats_, 80. _See_ _Chansons_, Song.

Food, an object of cult, i. 104; left on table at New Year, 266.

‘Fool,’ meaning of term, i. 334; in folk-custom, 142, 150, 192, 196, 208, 214; costume of, 384, 387; in household, 386; at miracle-plays, ii. 141; in interludes, 141. _See_ Buffoon, ‘Vice.’

Fool-literature, i. 382.

Fools, Feast of, i. 275; condemned by Innocent III (1207), 279; by council of Paris (1212), 279; by Odo of Tusculum (1245); described in thirteenth century, 290; condemned by Gerson, 292; by council of Basle (1435), 293; by Pragmatic Sanction (1438), 293; by Paris theologians (1445), 293; later attacks on, 300; customs of, 323; possible eastern origin of, 327; loose use of term, 337; inherited by _sociétés joyeuses_, 373; relation of, to liturgical drama, ii. 56; at Paris, i. 276, 300; at Sens, 279, 291, 297; at Beauvais, 284, 300; at St. Omer, 289, 305; at Bayeux, 289; at Autun, 289, 312; at Nevers, 290; at Romans, 290; at Laon, 290, 303; at Amiens, 290, 300; at Troyes, 295; at Noyon, 302; at Soissons, 302; at Senlis, 303; at Rheims, 304; at Châlons-sur-Marne, 305; at Béthune, 305; at Lille, 306; at Tournai, 307; at Chartres, 308; at Tours, 309; at Bourges, 309; at Avallon, 309; at Auxerre, 309; at Besançon, 311; at Dijon, 313; at Châlons-sur-Saône, 314; at Valence, 314; at Vienne, 314; at Viviers, 315; at Arles, 317; at Fréjus, 317; at Aix, 317; at Antibes, 317; in Spain, 318; at Mosburg, 319; at Cologne, 320; in Bohemia, 320; at Lincoln, 321; at Beverley, 322; at St. Paul’s, 323; at Salisbury, 323.

Fools, order of, i. 375, 382.

Football, at folk-festivals, i. 149.

Footing, payment of, i. 157.

‘Forced fire,’ i. 127.

_Four Elements, Nature of_, of John Rastell, ii. 200, 453.

_Four Ps_ of Heywood, ii. 445.

_Fous_, _prince des_, i. 373.

Foxe, John, his _Christus Triumphans_, ii. 458.

Francis, St., his divine minstrelsy, i. 46; and the _praesepe_, ii. 42.

Frazer, J. G., his theory of human sacrifice, i. 134.

_Freewill_ of Henry Cheke, ii. 461.

French influence on English miracle-plays, ii. 108, 146.

Freyja, i. 96, 108.

Freyr, i. 98, 108, 118, 257.

Frîja, i. 108.

_Funambuli_, i. 70.

Functions of heathen gods transferred to saints, i. 98, 109.

‘Funeral of Alleluia,’ i. 186.

Future, curiosity of peasant as to, i. 271.

‘Gaderyng.’ _See_ _Quête_.

_Gaigizons_, folk-custom of, at Autun, i. 313.

Galgacus, hero of folk-play, i. 211.

Games, festival origin of, i. 148.

_Gammer Gurton’s Needle_, ii. 195, 216, 457.

‘Gang-week,’ i. 120.

_Garçon et l’Aveugle, Le_, i. 86.

‘Geese-dancers,’ or disguisers, i. 402.

_Gemeinwoche_, i. 247.

Genesius, St., a converted mime, i. 10; the patron of minstrels, 42.

_Gentleness and Nobility_, assigned to Heywood, ii. 446.

Geoffrey of St. Albans, his play on St. Catherine, ii. 64, 107.

_Geola_, i. 230.

‘George’ in churches, i. 224.

George, St., his day, i. 114; in morris-dance, 197; legend of, 138, 225; ridings of, 118, 221; miracle-plays on, 224, ii. 132.

George, St., or Mummers’ play, range of, i. 211, 220; analysis of, 211; characters of, 212; relation to sword-dance, 207, 218; symbolism of spring in, 218; relation to Seven Champions, 220; to St. George ridings, 221; transferred from spring to mid-winter, 226; text of, ii. 276.

Gerhoh von Reichersberg, ii. 64, 86, 98.

Germano-Kelts, their feasts, i. 228; ignorance of solstices, 228; influence of Rome upon, 232.

_Gesta Grayorum_, i. 417.

_Gestator regis_, i. 68.

_Geta_, ii. 207.

‘Giants’ in folk-festivals, i. 120, 139; at royal entries, ii. 173.

Gladiators, suppressed, i. 20; survival of, in minstrelsy, 72.

Glastonbury thorn, i. 252.

Gleeman (_gleómon_), name for _scôp_, i. 28, 30, 34; survival of, after Conquest, 43, 75.

Gleewood, or harp, i. 29.

_Gloriosi et famosi_, ii. 54.

God, the concept of, i. 104.

Godiva procession at Coventry, i. 119, ii. 163.

_God’s Promises_ of Bale, ii. 448.

‘Golden Mass,’ at Tournai, ii. 67, 318.

_Goliardi_, i. 60, 280, 327, ii. 8, 27, 37, 57, 72.

‘Gooding,’ i. 253.

Γοτθικόν, τό, at Byzantium, i. 273.

_Grange_, _Prince de la_, at Lincoln’s Inn, i. 415.

Green Knight, of Arthurian romance, i. 186.

Gregory the Great, his missionary policy, i. 95.

Grimald, Nicholas, his plays, ii. 194, 218, 450.

Grosseteste, Robert, his harper, i. 56; against minstrels, 39; against folk-ludi, 91; against Feast of Fools, 321; his name given to Christmas king, 411; against miracle-plays, ii. 100.

Grotesques, as survivals of sacrifice, i. 142; in sword-dance, 192; in morris-dance, 196; in St. George play, 214.

Gubbio, _Ceri_ procession at, i. 119.

Guenever, her Maying, i. 179.

Guilds, of minstrels, i. 55, ii. 258; for Feast of Fools, i. 373; religious and miracle-plays, ii. 87, 118; and secular plays, 198. _See_ Corpus Christi Guilds, Craft-guilds, _Puys_, _Sociétés joyeuses_.

Guiraut de Riquier, his _Supplicatio_, i. 63.

Guisers, i. 227, 402.

Gunpowder day, i. 115.

Guy Fawkes, his day, i. 248, 253, 255.

_Gwyl_, i. 231.

Gyst-ale, i. 179.

Hale, Adan de la, his _jeux_, i. 171, 381.

Halls, interludes in, ii. 188.

Hare, a divine animal, i. 131.

_Harlots_, the, a theatre at Constantinople, i. 16.

Harp, used by minstrels, i. 73.

_Harrowing of Hell_, an _estrif_, i. 80, 83, ii. 74.

Harrowing of Hell, in Easter drama, ii. 73.

Harvest festival, i. 111, 114.

Harvest field, sacrificial customs of, i. 158.

Harvest-lords, i. 143.

Harvest-May, i. 117, 250.

_Hastiludia_, i. 392.

‘Haxey hood,’ on Epiphany, i. 150.

Heads of sacrificed animals worn by worshippers, i. 132; in folk-custom, 141, 258, 268, 327, 385, 391, &c.

Hearse, i. 277.

Heat-charms. _See_ Sun-charms.

Heathenism, its survival in folk-custom, i. 94, ii. 290, &c.

Heaven-god, i. 105.

‘Heaving,’ at Easter, i. 157.

Hell, Harrowing of, in Easter drama, ii. 73.

Hell, representation of, in miracle-plays, ii. 86, 137, 142.

Heralds of summer, i. 110.

Hereward, Saxon lays of, i. 43, 76.

Herman, Guillaume, unedited play by, ii. 152.

_Herod_, drama of. _See_ _Stella_.

Herod, how acted in miracle-plays, ii. 48, 57, 90, 139.

Herodas, his mimes, i. 2.

Herodias, i. 109.

_Herodis Convivium_, liturgical play of, ii. 61.

Heroic lays sung by minstrels, i. 62.

Herrad von Landsberg, on Feast of Fools, i. 318; on miracle-plays, ii. 98.

Heywood, John, his interludes, ii. 196, 203, 443.

_Hickscorner_, ii. 200, 453.

Higden, Randulph, probable author of _Chester Plays_, ii. 145, 352.

Higgs, Griffin, his _Christmas Prince_, i. 408.

Hilarius, his liturgical plays, ii. 57, 107.

Hills, cults on, i. 107, 129.

_Histrio_, classical sense of, i. 6. _See_ Minstrels.

_Hiver et de l’Été, Débat de l’_, i. 80, 187.

Hobby-horse, i. 142, 196, 214, 258.

Hockey, at folk-festivals, i. 149, 157.

Hocking, i. 155.

‘Hockney day’ at Hungerford, i. 156.

Hock-tide, i. 154, 187, ii. 264.

_Hodie cantandus_, a Christmas trope, ii. 8.

Hogmanay, i. 254.

Holly, as fertilization spirit, i. 251.

_Holophernes_, alleged play of, ii. 196.

Holophernes, his part in folk-drama, i. 202, 219, 221.

Holy Rood legend in miracle-plays, ii. 127.

Holy water, i. 124.

Holy wells, i. 122.

‘Honour,’ minstrels of, i. 54.

Hood of fools, i. 308, 384.

Hood, Robin, in May-game, i. 174; origin of, 175; plays on, 177; in morris-dance, 195; in St. George play, 216; as lord of misrule, ii. 334.

‘Hooding,’ i. 253.

‘Horn-dance’ at Abbot’s Bromley, i. 166.

Horses, sacrificed by Teutons, i. 131; let blood on St. Stephen’s day, 257.

_Hortulanus_ scene in _Quem quaeritis_, ii. 31.

Household, minstrels in, i. 48; fool in, 386; players in, ii. 186.

House-spirits fed at New Year, i. 266.

_How many Miles to Babylon_, i. 152.

Howards, extracts from accounts of, ii. 255.

Hrotsvitha, plays of, ii. 207.

Humanist influence on drama, ii. 181, 206, 214.

Humanity, represented in moralities, ii. 155.

Human sacrifice, its meaning, i. 133; abolition of, 136; traces of, in folk-festivals, 143, 260, &c.

Hunt, Christmas, at Inner Temple, i. 415.

Hunters, religion of, i. 106.

‘Husbands’ of miracle-play, ii. 119.

_Iiuleis_, i. 230.

Images, origin of, i. 259.

_Impatient Poverty_, ii. 461.

_Imperator_, lord of misrule, i. 413.

Indian earth-goddess, her festival, i. 149, ii. 266.

_Inductio Autumni_, i. 91.

_Inductio Maii_, i. 91, 172.

_Infanterie Dijonnaise_, i. 373, 384.

Ingelend, Thomas, his _Disobedient Child_, ii. 214, 223, 457.

Innocent III, against Feast of Fools, i. 279, 337, ii. 99.

Innocents’ day, i. 247, 260, 344. _See_ Boy Bishop.

Inns, interludes in, ii. 189.

Inns of Court, revels at, i. 413; interludes at, ii. 194.

Interlude, a form of disguising, i. 400; origin and meaning of name, ii. 181; chiefly applied to domestic plays, 183; characteristics of, 188; public performances of, 189; by villagers, 192; by inns of court, 194; in universities, 194; in schools, 195; subject-matter of, 199; controversial use of, 216; state regulation of, 220, 225; inheritance of Elizabethan stage from, 224.

_Interludentes_, ii. 186, 233.

Interludes, players of, ii. 179. _See_ Actors.

_Interludium de Clerico et Puella_, i. 86, ii. 181, 202; text of, 324.

_Interlusores_, ii. 186, 233.

_Introit_, tropes to, ii. 8.

_Ioculator Regis_, i. 68.

_Ioculatores_, ii. 230. _See_ Minstrels.

Iron, not taken from house at New Year, i. 238, 269.

Isaac and Rebecca, liturgical play on, ii. 60.

Italy, special developments of mediaeval drama in, ii. 91.

_Iubilus_, ii. 7.

Ivy, as fertilization spirit, i. 251.

‘Jack i’ the green,’ i. 117.

_Jack Juggler_, ii. 457.

‘Jack o’ Lent,’ i. 186.

‘Jack Straw,’ at Lincoln’s Inn Christmas, i. 414.

Jape, i. 84.

Jerome, St., and theatre, i. 17, 25.

Jesters, i. 68, 386.

_Jeu de la Feuillée_, i. 381.

_Jeu de Robin et Marion_, i. 171.

_Jeu du Pèlerin_, i. 171.

_Jeunesse_, _prince de la_, i. 373.

Jevons, F. B., on human sacrifice, i. 135.

_Jocs-partitz_ (_jeux-partis_), i. 78.

_Joglars_, i. 63.

_John Baptist_ of Bale, ii. 448.

John Baptist, St., his day, i. 126, 241; _sacre rappresentazioni_ on, at Florence, ii. 94.

John Evangelist, St., his day, i. 247; feast of priests on, 336.

‘John Jack,’ in St. George play, i. 215.

_John, Tib, and Sir John_ of Heywood, ii. 445.

Jordan, W., his _Creation of the World_, ii. 435.

_Jougleurs._ _See_ Minstrels.

Jugglers, i. 68, 71, ii. 231.

Julian Hospitator, St., patron of minstrels, i. 42.

_Julian the Apostate_, play of, ii. 132.

Julian, the Emperor, his dislike of the theatre, i. 10; his cult of the Sun, 235.

Justinian, code of, theatrical legislation in, i. 14, 16.

Kalends, of January, the New Year feast of the Roman Empire, i. 237; hostility of Church to, 244, ii. 290; relation of, to Christmas, i. 246; customs of, 250, 262, 266; _cervulus_ at, 258; survival of, in Feast of Fools, 329.

Keltic minstrels, i. 76.

Kelts and Teutons, their common civilization, i. 100.

‘Kern-baby,’ i. 117.

King, why slain at festivals, i. 134.

‘King-ale,’ i. 179.

‘King-game,’ varying sense of, i. 173.

_King John_, of Bale, ii. 221, 449.

King of Egypt, in St. George play, i. 217.

Kings, mock, in folk-custom, i. 143, 260; in singing games, 152, 165; at May-games, 173; at _Saturnalia_, 236; at Feast of Fools, 326; as Boy Bishops, 368; of _Sociétés joyeuses_, 373; as lords of misrule, 403. _See_ Rex.

Kirchmayer, his plays, ii. 217.

Kite, Bishop, as actor, ii. 193.

Kölbigk, dancers of, i. 162, 272.

Laberius, a mimograph, i. 4, 9.

_Lâc_, i. 160.

‘Lady’ at folk-festivals, i. 173.

_Lais_, i. 74.

‘Lamb-ale,’ i. 179.

Lammas-tide, i. 114.

Laneham, Robert, his account of Hock Tuesday, i. 154, ii. 264.

Langland, William, against minstrels, i. 41.

Langton, Stephen, unedited play by, ii. 152.

‘Largess,’ i. 158.

_Larvae._ _See_ Masks.

Lath, sword of, worn by fool, i. 387.

Latin, known to minstrels, i. 60.

_Laudesi_, ii. 92.

Lazarus, liturgical plays on, ii. 58, 60.

Legends in miracle-plays, ii. 126.

Liberius, not founder of Christmas, i. 239.

_Libertas Decembrica_, i. 236.

Limoges, liturgical dramas at, ii. 44, 45, 53, 61.

‘Little Devil Dout,’ in St. George play, i. 215.

Liturgical drama, origin of, in tropes, ii. 7; at Easter, 27; at Christmas, 41; later developments of, 57; passes into miracle-play, 69; in England, 107. _See_ _Peregrini_, _Prophetae_, _Quem quaeritis_, _Stella_.

Liturgy, dramatic element in, ii. 3.

_Loca_ of religious plays, ii. 79, 83, 136.

Lord mayor’s show, ii. 165.

Lord of misrule. _See_ Misrule, lord of.

Lord’s Prayer, plays of. _See_ _Paternoster_ plays.

Loschi, his _Achilleis_, ii. 212.

Love, as _motif_ of folk-song, i. 169.

_Love_, of Heywood, ii. 444.

Lucas de Barre, blinded for minstrelsy, i. 46; a _trouvère_, 64.

_Lucrece_, an interlude, ii. 458.

_Ludi_ of folk, attacked by thirteenth-century bishops, i. 90; their loose morals, 93; their heathen origin, 94.

_Ludi regis_, i. 393.

_Ludi theatrales_, in churches, condemned, i. 342, ii. 100.

_Ludus_, meaning of term, i. 393, ii. 104.

_Ludus Coventriae_, ii. 124, 126, 145, 146, 152, 416.

_Ludus de Rege et Regina_, i. 91, 172.

_Ludus Septem Sapientum_ of Ausonius, ii. 212.

_Lugnassad_, i. 111, 231.

Luke, St., his day, i. 247.

_Lusor_, meaning of term, ii. 185, 233.

_Lusty Juventus_ of R. Wever, ii. 223, 460.

_Lusus Troiae_, i. 203.

Luther in interludes, ii. 219.

Lutheran drama, ii. 216.

Lydgate, his devices for mummings, i. 396; claimed as author of miracle-plays, ii. 145; his verses for Corpus Christi, 161.

Lyndsay, Sir David, his play, ii. 157, 441.

Macro manuscript of plays, ii. 155, 436.

Magdalen, St. Mary, in religious drama, ii. 32, 60, 75, 90, 131, 155.

Magdalen College, Oxford, extracts from accounts of, ii. 248.

_Magi_, drama of. _See_ _Stella_.

Magic and religion, i. 102; ‘sympathetic’ and ‘mimetic,’ 121.

_Magnificence_ of John Skelton, ii. 157, 441.

Magnus, plays of, ii. 207.

Maid Marian, relation of, to Robin Hood legend, i. 175; in morris-dance, 195.

_Maierolles_, i. 168.

_Maistre_, title for minstrels, i. 47.

‘Making Christ’s bed,’ i. 187.

_Mankind_, ii. 155, 438.

Mannyng, Robert, of Brunne, against minstrels, i. 40; against folk-_ludi_, 93; against interludes, ii. 182.

_Marescallus_, title for minstrels, i. 50, ii. 239.

Margaret, St., in St. George ridings, i. 223.

Marham, ‘abbot’ of, at Shrewsbury, i. 173, 383, ii. 252.

_Marienklagen_, ii. 40.

Marion, and Robin, in _pastourelles_, i. 171.

_Marionnettes_, i. 71, ii. 158.

Mark, St., his day, i. 114.

Market place, miracle-plays in, ii. 135.

_Marotte_ of fool, i. 385.

‘Marriage’ of fruit-trees, i. 250.

Marriage of heaven and earth, i. 105, 144, 187.

Marseilles, forbids mimes, i. 7.

Martin, St., his day, i. 230, 247, 256; as gift-giver, 268.

Masks, in folk-processions, i. 258; in Feast of Fools, 327; sacrificial origin of, 391; sale of, forbidden, 396.

Masques, at Christmas, i. 391; development of mummings, 401; origin of name, 402.

Mass, dramatic character of, ii. 3.

_Matres_, i. 231, 264.

_Mattacino_, i. 191.

Maundy Thursday, dramatic ceremony on, ii. 6.

Maxstoke Priory, extracts from accounts of, ii. 244.

May-brides, i. 144.

May-day, origin of, i. 114; its customs, 116, 126, 140, 173, &c.; songs of, 168.

May-game, early notices of, i. 173; nature of, 176; plays in, 177; dances at, 178; decay of, 179; morris-dance in, 196.

May-garland, i. 117.

May-kings, i. 143.

May-poles, i. 117; destroyed at Reformation, 180.

May-queens, i. 144.

Mayors, mock, i. 261.

Mead, i. 133.

Medwall, Henry, his plays, ii. 200, 443.

_Mehlweib_, in sword-dance, i. 192.

_Mercator_ in _Quem quaeritis_, ii. 33, 75, 91.

_Meriasek_, _St._, play of, ii. 132, 435.

_Messe à liesse_, i. 304.

Methodius, dialogues of, ii. 206.

Michael III, his riots at Constantinople, i. 327.

Michaelmas, i. 114, 247.

Midsummer day, i. 114, 126; ‘watches’ on, 118, ii. 165.

_Mimae_ play naked at _Floralia_, i. 5.

Mime, a type of farce, in Magna Graecia, i. 2; in Roman world, 4.

_Mimi_, players in mimes, i. 6; type of, preserved in minstrelsy, 24, 65, ii. 232; their modes of entertainment, i. 70; farces possibly played by, in Middle Ages, 83.

_Mind, Will, and Understanding_, ii. 155, 438.

_Minni_, i. 98, 133, 229, 267.

Minorites, taken for minstrels, i. 57.

Minot, Laurence, i. 76.

Minstrels, origin in Latin _mimus_ and Teutonic _scôp_, i. 25, 33, 58; disrepute with Saxon churchmen, 31; with Frankish churchmen, 35; with mediaeval church, 38; their sense of their own _infamia_, 42; their life in mediaeval England, 44; its seamy side, 48; in households, 48; origin of name, 48; their testimonials, 53; legal restrictions on their movements, 54; partial toleration of them by the church, 55; classification of, by Thomas de Cabham, 59; professional distinctions amongst, 62; distinction between composer and executant appears amongst, 63; many-sidedness of, 66; decay of, at invention of printing, 68; various modes of entertainment by, 70; dramatic tendencies amongst, 77; at miracle-plays, ii. 140; become interlude-players, 186; various names for, 230; hierarchy of, 238; guilds of, 258; courts of, 259.

Miracle-plays, development of, from liturgical plays, ii. 79; attitude of Church to, 97; names for, 103; early notices of, in England, 108; wide range of, 109, 121; disliked by Lollards and Reformers, 111; revived under Mary, 112; extinction of, 112; organization of, 113; processional type of, 133; where played, 134; pageants of, 136; time of playing, 138; dates for, 138; style of acting in, 139; properties of, 141; books of, 143; authorship of, 144; interrelations of, 146; folk-elements in, 147; liturgical survivals in, 148; later developments from, 149; allegory in, 151; given in halls, 184; by travelling companies, 184; relation of interludes to, 191, 205. _See_ Corpus Christi, Craft-guilds, Cycles, Guilds, Municipalities, Parish plays, &c.

_Miracula._ _See_ Miracle-plays.

Misrule, lord of, at folk-festivals, i. 173, 260; at English and Scottish courts, 403; George Ferrers as, 405; at universities, 407; at inns of court, 413; in private households, 418. _See also_ Abbot, Christmas Prince, Kings.

_Missa Praesanctificatorum_, ii. 17.

_Missel des Fous_ at Sens, i. 279.

Mistletoe, as fertilization spirit, i. 251.

Mithraism, i. 235, 242.

Mock bishops. _See_ Bishops of Fools, Boy Bishops.

Mock fights in folk-custom, i. 187.

Mock kings, mayors. _See_ Kings, Mayors.

_Modranicht_, i. 231, 265.

Moors, in morris-dance, i. 199.

Moral licence of folk-festivals, i. 145.

Moralities, origins of, ii. 151; themes of, 153; mode of representing, 156; in interlude form, 199; list of extant, 436.

More, Sir Thomas, his love of plays, ii. 193.

Morris-dance, in England, i. 195; relation to May-game, 179, 196; in Europe, 198; origin of name, 199; identity of, with sword-dance, 200; in St. George play, 219.

Mother-goddess, i. 105.

‘Motions,’ ii. 158.

Mummers, at modern Christmas, i. 227, 402.

Mummers’ play. _See_ St. George play.

Mummings, nature and origin of, i. 393; devices for, by Lydgate, 396; pageants in, 397, 399; development into masques, 401.

_Mundus et Infans_, ii. 155, 439.

Municipal minstrels, or waits, i. 51.

Municipal plays, origin of, in fourteenth century, ii. 109; under control of corporation, 114; maintenance of, 115. _See_ Craft-guilds.

Music in minstrelsy, i. 73.

Mussato, his _Ecerinis_, ii. 211.

_Mystères mimés_, ii. 173.

Mystery-play, meaning of term, ii. 105.

Myth in folk-songs, i. 169.

Nakedness, of _mimae_ at _Floralia_, i. 5; at Feast of Fools, 327; how represented in miracle-plays, ii. 142.

_Narr_, in sword-dance, i. 192.

Narrative literature of minstrels, i. 74.

Nativity. _See_ Christmas.

_Nature_ of Medwall, ii. 200, 443.

Nebuchadnezzar, episode of, in _Prophetae_, ii. 55.

‘Neck,’ at harvest, i. 117.

_Necromantia_, ii. 455.

‘Need-fire,’ i. 127.

Nehellenia, i. 109.

Neo-Latin drama, ii. 216.

Nero appears in theatre, i. 9.

Nerthus, i. 108, 118, 122.

_Neumae_, ii. 7.

‘New’ fire, i. 229.

‘New’ water, at New Year, i. 255.

New Year, at beginning of winter, i. 228; on January Kalends, 237; at Christmas, Annunciation, Easter, 246; customs of, at Christmas, 246; at other winter feasts, 247; festival customs of, 249; fertilization spirit at, 250; water and fire rites at, 255; sacrifice at, 256; mock kings at, 260; domestic feast at, 262; dead commemorated at, 263; omens at, 269; play at, 272; ecclesiastical revels at, 275. _See_ Kalends.

Newcastle, plays at, ii. 424.

_Nice Wanton_, ii. 223, 460.

Nicholas, St., in sword-dance, i. 195; his day, 232, 247; patron of children and schools, 263, 369; as gift-giver, 268; relation of Boy Bishop to, 363, 369; religious plays on, ii. 59, 132.

_Nigramansir_, alleged play of, by Skelton, ii. 440.

_Nigremance_, i. 71.

Njordr, i. 108.

_Noëls_, i. 272.

‘Noise,’ Sneak’s, in Eastcheap, i. 69.

Norwich, plays at, ii. 425.

Notker Labeo translates Terence, ii. 207.

_Nuts in May_, i. 189.

_Oats and Beans and Barley_, i. 189.

_Obstetrices_ in liturgical drama, ii. 41, 46, 126.

Odin, i. 108, 264.

‘_Oes_,’ i. 344.

_Officium_, term for religious play, ii. 103.

_Officium Circumcisionis_, i. 280, 289, 297, ii. 279.

‘Old Father Christmas,’ in St. George play, i. 216.

Omens for New Year, i. 238, 250, 266, 269.

‘Open the Door,’ in St. George play, i. 216.

_Oranges and Lemons_, i. 151.

_Ordinale_, book of miracle-play, ii. 143.

‘Ordinary,’ prompter, ii. 140.

_Ordo_, term for religious play, ii. 103.

‘Originals,’ books of miracle-plays, ii. 114, 143.

Orosius, his attack on the theatre, i. 18.

Owls, sacrifice of, i. 257.

‘Pace-eggers,’ and St. George play, i. 226.

_Paedonomus_, lord of misrule, i. 413.

‘Pageant-masters,’ ii. 116.

Pageants, for miracle-plays, ii. 95, 115, 133; structure of, 136; in processions, 161; in royal entries, 166; in masques, i. 398, ii. 176.

‘Pagent pencys,’ ii. 116.

‘Pajaunt silver,’ ii. 116.

Palm Sunday, i. 114; dramatic ceremonies on, ii. 4.

_Palmesel_, i. 333, ii. 5.

Palsgrave, John, his _Acolastus_, ii. 459.

_Pammachius_ of Kirchmayer, ii. 195, 217, 220, 224.

_Pantomimi_, i. 6, 23.

_Parade_ of minstrels, i. 72, 85.

_Parcae_, table laid for, at New Year, i. 266.

_Pardoner and the Friar, The_, of Heywood, ii. 444.

Parish clerks, their plays in London, ii. 119.

Parish plays, frequency of, ii. 109, 121; organization of, 121; decay of, 191.

Passion, dramatic recitation of, ii. 5.

Passion play, begins in Good Friday _planctus_, ii. 40; development of, 75; in England, 129.

_Pastores_, a Christmas liturgical play, abuses of, i. 343; origin and absorption of, ii. 41.

_Pastourelles_, i. 78, 171.

_Paternoster_ plays, ii. 120, 154.

Patriarch of Fools, i. 303, 326, 329. _See_ Feast of Fools.

_Pauli Conversio_, liturgical play of, ii. 61.

_Pèlerin_, _Jeu du_, i. 85.

Perchta, i. 109, 264, 266.

Percy, bishop, his view of minstrelsy, i. 66.

_Peregrini_, an Easter liturgical drama, ii. 36, 107.

_Personnages_, _joueurs de_, ii. 198.

Pestilence, charms for, i. 127, 140.

Petrarch, his _Philologia_, ii. 212.

_Pfingstl_, in folk-drama, i. 185.

Philistion, his mimes, i. 4.

Pickle Herring, i. 208.

Pilate, in religious drama, ii. 38, 139.

_Planctus_, in religious drama, ii. 33, 40, 44, 75, 129.

_Platea_, in religious plays, ii. 80, 135.

‘Play,’ in sense of ‘jest,’ i. 84.

Play, instinct of, i. 147; at village festivals, 147; at New Year, 272.

Play-books, ii. 143.

‘Player,’ meaning of term, ii. 185, 233.

Player-chambers, ii. 188.

Players. _See_ Actors.

Plays. _See_ Comedy, Drama, Interludes, Liturgical Drama, Miracle-plays, Moralities, Passion plays, St. George play, Tragedy, &c.

Plough Monday, i. 114, 121, 150, 209; folk-plays on, 207. _See_ Ship processions.

Ploughing charm of Anglo-Saxons, i. 108, 167.

Ploughing festival, i. 111, 114.

Politics, in minstrelsy, i. 45, 76; in interludes, ii. 219.

Polytheism, origin of, i. 107.

Pope of Fools, i. 302, 326. _See_ Feast of Fools.

_Praesepe._ _See_ Crib.

_Praestigiatores_, i. 7, 71.

Prayer in folk-song, i. 167; at end of interludes, ii. 189.

Pre-Aryan elements in folk-lore, i. 101.

_Pride of Life_, ii. 155, 436.

Priests, feast of, on St. John’s day, i. 336.

Printing, the ruin of minstrelsy, i. 68.

_Prisio_, a sacrificial forfeit, i. 156, 298.

Privy council, plays regulated by, ii. 223, 225.

_Procession noire_, at Evreux, i. 378.

Processional dances, i. 164.

Processional miracle-plays, ii. 95, 133, 160.

Processions, at folk-festivals, i. 118, ii. 165; at Kalends, 237; at Feast of Fools, 327; at religious feasts, i. 222, ii. 160; in cities, 165; called ‘pageants,’ 176. _See_ Corpus Christi procession, Ridings.

‘Prodigal Son’ motive in drama, ii. 217.

Prompters, ii. 140, 144.

‘Properties’ of miracle-plays, ii. 141.

Prophet, on Palm Sunday, ii. 5.

_Prophetae_, liturgical drama of, and Feast of Fools, i. 109, ii. 56; origin and development of, ii. 52, 70; in England, 67, 107.

_Prosae_, i. 277, ii. 8.

‘Prose of the Ass,’ i. 282, 284, 287, 309, 312, 329, 331; text of, ii. 279.

Publilius Syrus, a mimograph, i. 4.

_Pulcinella_, ii. 159.

_Pulpita_, ii. 135.

_Punch and Judy_, ii. 159.

Punishments, survivals of folk-custom in, i. 152.

Puppet-shows, i. 71, ii. 157.

Puritans, dislike minstrelsy, i. 41; dislike May-day, 168, 180; dislike _sepulchrum_, ii. 24; dislike miracle-plays, 103, 111; dislike interludes, 99, 111, 216.

Purpoole, Prince of, at Gray’s Inn, i. 416.

_Puy_, a bourgeois institution, i. 65; minstrels in, i. 376, ii. 258; relation of, to Feast of Fools, i. 376; in London, i. 376, ii. 198; secular plays acted by, i. 172, 376, ii. 197; miracle-plays acted by, ii. 87.

_Pyrrhicha_, i. 7, 203.

Quack. _See_ Doctor.

‘Queen’ at folk-festivals, i. 170, 173, 261.

_Quem quaeritis_, an Easter trope, ii. 9; at Winchester, 12; becomes a drama, 15, 306; relation of, to Easter sepulchre, 16, 25; a _Visitatio sepulchri_, 25; precedes _Te Deum_ at Matins, 26; varieties of custom, 26; texts of, 26; doubtful origin of, 27; diffusion of, 27; development of, 28; _Victimae paschali_ in, 29; the Maries scenes, 30; the Apostles scene, 30; the risen Christ or _Hortulanus_ scene, 31; _planctus_ in, 32; _unguentarius_ in, 33; staging of, 34; remains part of liturgy, 35; folk and religious Easter motives in, 36; in England, 107; text of Dublin version, 315.

_Querolus_, ii. 207.

_Quêtes_, at folk-festivals, i. 119, 156, 176, 209, 217, 253, 257, 263, &c.; songs for, 168; by Boy Bishop, 356, ii. 287; for miracle-plays, ii. 117.

_Rabardiaux_, procession of, at Laon, i. 303.

Races, at folk-festivals, i. 148.

_Rachel_, liturgical drama of, ii. 44.

Radclif, Ralph, plays by, ii. 196, 205, 218.

Raherus, a minstrel, founds St. Bartholomew’s, i. 48.

Rain-charms, i. 103, 121, 255, 327.

‘Ram-raisings,’ at folk-festivals, i. 91, 148.

Rastell, John, his stage at Finsbury, ii. 183; his _Nature of the Four Elements_, 200, 453.

Ravisius Textor, his dialogues, ii. 214.

Reading, the habit of, a rival to minstrelsy, i. 65, 68; plays used for, ii. 186.

_Reconciliation of the Heavenly Virtues_, a theme of moralities, ii. 152.

Redford, John, his _Wit and Science_, ii. 200, 454.

Refectory, religious plays in, ii. 86.

Reformation, controversial use of drama at, ii. 216. _See_ Puritans.

_Refrain_ in folk-songs, i. 171.

_Registrum_, ii. 143.

Religion, of Kelto-Teutons, its origin, i. 99; and magic, 102; higher elements of, 146.

Religious controversy in interludes, ii. 216.

_Remember us poor Mayers all_, i. 169.

_Repraesentatio_, term for religious play, ii. 104, 210.

Representations of miracle-plays, list of, ii. 329.

_Responsorium_, nature of, ii. 6.

_Respublica_, ii. 460.

Resurrection, treatment of, in Easter drama, ii. 38, 73; plays on, in England, 129. _See_ _Quem quaeritis_, _Peregrini_.

Resurrection motive, in folk-drama, i. 185; in sword-dance, 207; in St. George play, 213, 218.

Revels, at court, i. 393; master of, 399, 404.

Revesby, Plow Boys’ play at, i. 207.

_Rex_, of minstrels, i. 50, ii. 232, 238, 259; _aestivalis_, 173; _Saturnalitius_, 236. _See_ Kings.

‘Riding the stang,’ i. 152.

‘Ridings,’ on festivals, i. 221, ii. 160.

‘Risin’ and buryin’ Peter,’ i. 187.

Ritson, Joseph, his view of minstrelsy, i. 66.

Ritwise, John, ii. 196, 215, 219.

‘_Robene hude_,’ a dance, i. 178.

Robert of Sicily, plays on, ii. 151, 205.

Robin and Marion, in _pastourelles_, i. 171, 175.

_Robin Conscience_, ii. 461.

Robin Hood, in May-game, i. 174; legend of, 175; plays on, 177, ii. 205.

Robin Hood’s ale, i. 179.

Rogations, i. 114, 119.

_Roi._ _See_ _Rex_.

_Roi d’Angleterre, et le Jougleur d’Ely, Le_, i. 85.

_Roister Doister_ of Udall, ii. 215, 452.

Romance, in interludes, ii. 205.

_Romans d’aventure_, i. 74.

_Rondes_, i. 165.

Roo, Thomas, play by, ii. 194, 219.

‘Room,’ in St. George play, i. 216.

_Round the Mulberry Bush_, i. 189.

Rounds, for miracle-plays, ii. 85, 123, 135.

Royal household. _See_ Household.

Royal Oak day, i. 115.

Rushbearing, i. 114, 168.

Rutebeuf, a typical minstrel, i. 48, 65; his _Chariot et le Barbier_, 79; his _Dit de l’Erberie_, 83, 85.

Sabra, in St. George play, i. 217.

_Sacci_, in Twelve nights, i. 215, 268.

_Sacrament_, Croxton play of, ii. 133, 427.

_Sacre rappresentazioni_, ii. 92.

Sacrifice, attitude of Christianity to, i. 98; types of, 130; ceremonies at, 132, ii. 266; survivals of, in folk-custom, i. 139, 256; at beginning of winter, 229; in athletics, 148; in singing games, 151; in forfeits, 157; in sword-dance, 203; in St. George play, 218; heads and skins of victims, worn by worshippers at, 166, 258, 385, 391. _See_ Masks.

Saint Gall, song-school of, i. 338.

Saint Magnus’ church, Kölbigk, legend of dancers at, i. 162.

Saint Paul’s, two schools at, and their plays, ii. 196, 203, 219.

Saints, legends of, sung by minstrels, i. 62; religious plays on, ii. 97, 123, 132.

_Salii_, dance of, i. 203.

_Saltatores_, i. 71.

_Samhain_, i. 111, 230, 234.

_Satura_, early type of Italian farce, i. 2.

_Saturnalia_, i. 235, 330.

_Satyre of the Thrie Estaitis_ of Sir David Lyndsay, ii. 157, 441.

‘Sawing the Old Woman,’ i. 183.

Scaffolds for miracle-plays, ii. 136.

Scapegoat, i. 184.

Scenic arrangements of religious plays, ii, 79, 83.

School-drama of humanists, ii. 214.

Schoolmaster, his influence on folk-drama. _See_ Holophernes.

Schools, Boy Bishop in, i. 362, 413; interludes in, ii. 195; recitations in, during Middle Ages, 212.

_Schul-Bischof_, i. 369.

Scilling, a _scôp_, i. 29.

Scogan, John, his _comoediae_, ii. 211.

_Scolae ministrallorum_, i. 53.

_Scolares vagantes._ _See_ _Goliardi_.

_Scôp_, of Teutons, i. 25, 34; relation of, to _comitatus_, 27; in England, 28.

_Scotales_, i. 91.

_Scurra_, ii. 233.

Secular plays, on lines of miracle-plays, ii. 150.

Secularization of religious drama, ii. 69.

_Sedes_ of religious plays, ii. 79, 83, 136.

Seneca, his tragedies, i. 3; at Renascence, ii. 211, 216.

Sepulchre at Easter, in _Concordia Regularis_, ii. 16; doubtful origin of, 18; vogue of, in England, 19; varying ceremonies of, 19; host laid in, 21; structure of, 21; light and watch before, 23; at Reformation, 24; at Durham, 310; at Salisbury, 312.

_Sequentiae_, ii. 8.

_Sermons joyeuses_, i. 381, ii. 157, 203.

Seven Champions of Christendom, in sword-dance, i. 194; in St. George play, 220.

Sex-costume, change of, at festivals, i. 144, 214, 216, 218, 238, 262, 327, &c.

Sexagesimal calendar. _See_ Three-score-day-tide calendar.

Sex-cults, i. 105, 144, 159.

Shakespeare, folk-lore of, in _Hamlet_, i. 267; his fools, 388.

Shaven heads of minstrels, i. 45.

‘Ship,’ for play of _Noah_, ii. 136.

Ship processions, i. 121; play on Noah attached to, ii. 119, 131.

Shoes, capture of, i. 157.

‘Shows’ of craft-guilds, ii. 162.

Shrewsbury, fragments of religious plays found at, ii. 90; extracts from corporation accounts of, 250.

Shrovetide, i. 114, 150, 157, 163, 382, &c. _See_ Carnival.

Sibyl, in _Prophetae_, ii. 53.

Sidney, Philip, moved by minstrelsy, i. 69.

_Sigillaria_, i. 236.

_Signs of Judgement_, ii. 53.

Singing games, survival of sacrifice in, i. 151; dance in, 165; drama in, 189.

_Sir Roger de Coverley_, a dance, i. 165.

Skalds, of Scandinavia, i. 43.

Skelton, John, his plays, ii. 157, 440.

‘Skimmington riding,’ i. 153.

Skins, ceremonial wearing of. _See_ Sacrifice.

‘Slasher,’ in St. George play, i. 212.

Sleeping Beauty, i. 187.

Smith, John, his _Destruction of Jerusalem_, ii. 132, 145.

Smith, W. Robertson, on sacrifice, i. 130, 135.

_Sociétés joyeuses_, i. 373; at summer feasts, 377; and _charivari_, 153, 379; play farces, _sotties_, _sermons joyeuses_, 379; traces of, in England, 383.

_Sol Invictus_, i. 234; feast of, chosen for Christmas, 238, 241.

Solstices, unknown to Germano-Kelts, i. 113, 228; feast on, at Rome, 234; relation to Christian feasts, 241.

_Somebody, Avarice, and Minister_, ii. 223, 461.

Song, relation of, to dance, i. 161; at folk-festivals, 163; _motifs_ of, 166; at Christmas, 273. _See_ _Caroles_, _Chansons_.

Songs in miracle-plays, ii. 140, 144.

Sophron, his mimes, i. 2.

_Sotelties_, i. 224, ii. 397.

_Sots._ _See_ Fools.

_Sotties_, i. 381, ii. 203.

‘Souling,’ i. 253.

Sources of miracle-plays, ii. 126.

_Spectacula_, a preoccupation of Roman Empire, i. 3, 13, 16, 19, 21. _See_ Actors, Drama, Theatre.

_Speculum Stultorum_ of Wireker, i. 382.

Spirits, cult of, in primitive religion, i. 103; evil, expulsion of, 184; wanderings of, in Twelve nights, 267.

_Sponsus_, liturgical play of, ii. 61.

Spring, distinguished from summer, i. 111; savour of, in folk-song, 167; symbolized in folk-drama, 183, 219.

Sprinkling at folk-festivals, i. 122.

‘Squire,’ name for ‘fool,’ i. 142, 198.

Squire minstrel, ii. 239, 263.

‘Squire’s son,’ i. 194.

Squirrels, sacrifice of, i. 257.

Stage of miracle-plays, ii. 85, 136.

‘Standing’ play, ii. 134.

‘Stang,’ i. 152.

‘Star,’ at Epiphany, ii. 44.

Stationary miracle-plays, ii. 122, 134.

‘Stations’ for miracle-plays, ii. 115, 138.

_Statutes of Labourers_, effect of, on minstrelsy, i. 54.

_Stella_, liturgical drama of, at Epiphany, ii. 44; absorbs _Rachel_ and _Pastores_, 48; textual development of, 51; a dramatized _offertorium_, 52; later forms of, 69, 129; merged with _Prophetae_, 72.

Stephen, St., his day, i. 247; feast of deacons on, 336.

Stercatherus, in sword-dance, i. 195.

Stevenson, William, probable author of _Gammer Gurton’s Needle_, ii. 195, 216, 457.

_Strenae_, i. 238, 250, 253, 263, 268, 271.

_Stulti._ _See_ Fools.

_Stultorum feriae_, i. 335.

Sub-deacons, feast of, i. 323, 335. _See_ Fools, Feast of.

_Sumer is icumen in_, i. 168.

Summer, beginning of, i. 110; festivals of, 114, 126, 173; in folk-drama, 183; _sociétés joyeuses_ in, 377.

Summer-kings, i. 143, 173. _See_ Kings.

_Summoning of Everyman._ _See_ _Everyman_.

Sun, dance of, at Easter, i. 129; cults of, at Rome, 234.

Sun-charms, i. 121, 124, 255.

_Suscitatio Lazari_, liturgical plays of, ii. 58, 60.

Sword-dance, historic notices of, i. 190, ii. 270; range of, in British isles, i. 192; rhymes and personages of, 192, ii. 272; identity of, with morris-dance, i. 195; sacrificial rather than military, 201; figures of, 203; mock death in, 206; continuity of, with folk-dramas, 207; relation of, to _Fastnachtspiele_, 382.

_Tabour_, i. 73.

_Taboureurs_, _Dit des_, i. 63.

_Tabula_, i. 282.

Taillefer, his minstrelsy at Senlac, i. 43.

Tanfana, i. 108.

_Tcharnican_, i. 133.

Temporary kings, i. 137, 143. _See_ Kings.

_Temptation_ of Bale, ii. 448.

_Tenebrae_, a dramatic ceremony, ii. 6.

_Tensons_ (_tençons_), i. 78.

_Tenti_ of religious plays, ii. 135.

Terence, vogue of, in Middle Ages, ii. 207.

_Terens in Englysh._ _See_ _Andria_.

_Terentius et Delusor_, i. 85, ii. 208; text of, 326.

Tertullian, against stage, i. 1, 11; against Kalends, 238.

Testimonials to travelling minstrels, i. 53.

Teutons and Kelts, their common folk-lore, i. 100.

Texts of miracle-plays, ii. 124; authorship of, 144; interrelations of, 146.

_Thaleia_ of Arius, i. 13.

_Theatrales ludi_, condemned by Innocent III, i. 279, ii. 100; by Paris theologians, i. 295.

Theatre, in Greek and Roman world, i. 1; censured by pagan moralists, 9; and by Christian Fathers, 10; sympathy of Arius for, 13; at Constantinople (fourth to seventh centuries), 15; fall of, in East, 17; at Trèves, Carthage, Ravenna, Rome, Narbonne (fifth century), 18; under Theodoric the Ostrogoth at Rome (sixth century), 19; fall of, in West, 21; literary mention of, in twelfth century, 81; mediaeval, at Paris and Exeter, 383, ii. 190.

Theodora, mime and Empress, i. 16.

Theodosius, _Code_ of, theatrical legislation in, i. 12.

_Thersites_, ii. 214, 456.

Thetford Priory, extracts from accounts of, ii. 245.

Thévenin de St. Leger, his tomb, i. 386.

Thomas the Apostle, St., his day, i. 247.

Thomas the Martyr, St., pageant of, ii. 164.

‘Thomasing,’ i. 253.

Thor, i. 107.

Thorns, flowering at Christmas, i. 252.

_Thread the Needle_, i. 165.

Three-score-day-tide calendar, i. 152, 229.

Threshing-floor, sacrificial customs of, i. 158.

_Thrie Estaitis._ _See_ _Satyre of the Thrie Estaitis_.

_Three Laws_ of Bale, ii. 449.

_Through the Needle Eye_, i. 152.

Tillage, effect of, on calendar, i. 232.

Tiwaz, i. 105.

_Tobit_, play of, ii. 131.

_Tollite portas_, ii. 4, 5, 20, 36, 74.

_Tombeor de Notre Dame_, i. 42.

_Tombeors_, i. 70.

‘Tommy’ in sword-dance, i. 192.

Topographical list of miracle-plays, ii. 329.

Tops, whipped on festivals, i. 128.

_Tower of London_, i. 152.

_Towneley Plays_, ii. 124, 412.

Tragedy, extinction of classical, i. 2, ii. 206; mediaeval conception of, 209; humanist revival of, 211; in Tudor interlude, 216.

Transformation of intention in folk-customs, i. 122, 124, 130, 138, 147.

_Transformations_, i. 170.

Travelling of miracle-plays, ii. 122.

_Tregetours_, i. 71.

_Tres Reges_, drama of. _See_ _Stella_.

_Tretise of miraclis pleyinge_, i. 84, ii. 102.

Triads of divinities, i. 107, 231.

_Tribunus voluptatum_, i. 15, 21, ii. 229.

_Triduum_, relation of, to Feast of Fools, i. 323; feasts of, 336; early notices of, 338; at St. Gall, 338; at Winchester, 339; during Middle Ages, 339; abuses of, 340; at Wells, 342; at Exeter, 342.

Trimalchio, his Atellane, i. 5.

_Trimousette_, i. 170.

Trinity Sunday, i. 114.

_Tripudia_, in churches, i. 275, 326, 336.

Triumphs, i. 393, ii. 176.

_Trobaires_, i. 63.

_Troparia_, ii. 8.

Tropes, origin and nature of, ii. 7; dialogue in, 8.

_Trouvères_, their relation to minstrels, i. 64.

‘Tug-of-war,’ at folk-festivals, i. 149.

Tumblers, i. 70.

Turkish Knight, in St. George play, i. 212.

‘Tutti men,’ at Hungerford, i. 156.

Twelfth Night. _See_ Epiphany.

Twelve nights, origin of, i. 244; spirits abroad in, 267; influence of, on months of year, 269.

Udall, Nicholas, his plays, ii. 144, 192, 196, 215, 218, 451.

_Ululatus_, ii. 7.

_Unguentarius_ in _Quem quaeritis_, ii. 33, 38.

Unidentified miracle-plays, ii. 432.

Universities, lord of misrule at, i. 407; interludes at, ii. 194.

Unreason, ‘abbot’ of, i. 403.

_Vagantes_, _scolares_. _See_ _Goliardi_.

Vernacular in religious plays, ii. 58, 61, 89.

Vestments used in miracle-plays, ii. 117.

_Vexillatores_, ii. 141, 156.

Vicars choral, and Feast of Fools, i. 324.

‘Vice,’ name for ‘fool,’ i. 387, ii. 203; at miracle-plays, 141, 205; in interludes, 203; costume of, 205.

_Vice and Virtue, Conflict of_, a theme of moralities, ii. 153.

_Victimae paschali_, ii. 29; in _Quem quaeritis_, 30.

_Vielle_, i. 73.

Village festivals, presence of the fertilization spirit at, i. 116, 250; processions at, 118, 253; images at, 120; rain-charms at, 121, 255; sun-charms at, 124, 255; sacrifice at, 132, 276, ii. 266; play at, i. 146; dance at, 160, 272; mock king at, 172, 260; folk-drama at, 183.

Virgil, in _Prophetae_, ii. 53.

_Visitatio sepulchri._ _See_ _Quem quaeritis_.

Visors. _See_ Masks.

_Vota_, i. 237.

Waits, i. 51.

Wakes, i. 114, 247.

Wantonness at folk-festivals, i. 93, 145, 169.

War, in early cult, i. 26.

Wassail, i. 254, 260.

Watches at midsummer, i. 118, ii. 165.

Water-charms. _See_ Rain-charms.

Watson, Edward, comedy by, ii. 194.

Watson, Thomas, his _Absalon_, ii. 195, 458.

_Wealth and Health_, ii. 461.

_Weather_ of Heywood, ii. 445.

Well-dressing, i. 120, 124.

Wells, cult of fertilization spirit at, i. 122.

Werwolf, i. 267.

‘Wesley-bob,’ i. 253.

Wever, R., his _Lusty Juventus_, ii. 223, 460.

Wheel, as sun-charm, i. 128.

Whipping, at Easter, i. 157; at Christmas, 260; at Feast of Fools, 327.

‘Whipping Toms,’ at Leicester, i. 157.

White smocks worn in folk-dances, i. 200.

‘Whitepot’ queen, i. 174.

Whitsuntide, i. 114, 141, 173, 179; dramatic ceremonies at, ii. 66; miracle-plays at, 94, 138.

_Widsith_, i. 28.

‘Wild hunt,’ i. 264, 267.

‘Wild man,’ i. 185.

Winchester College, extracts from accounts of, ii. 246.

_Winileodi_, i. 170.

Winter, beginning of, i. 110, 228, 249; represented in folk-drama, 183, 220; Roman feasts during, 234.

_Wit and Science_ of John Redford, ii. 200, 454.

Witch-trials, heathenism in, i. 98.

_Withershins_, i. 129, 165.

_Witty and Witless_ of Heywood, ii. 446.

Wodan, i. 108.

‘Wod-woz,’ i. 185, 392.

Woman, sawing the old, i. 183.

Women, primitive agricultural cult by, i. 106; position of, in village festivals, 144. _See_ Sex-costume.

Work, begun on feast day, i. 269.

_World and the Child, The._ _See_ _Mundus et Infans_.

Worship, dramatic element in, ii. 3.

Worthies, the six, in sword-dance, i. 195.

_Would you know how doth the farmer?_, i. 189.

Wren, sacrifice of, i. 132, 257.

Wrestling at folk-festivals, i. 148.

Wyclifites, against minstrelsy, i. 40; against miracle-plays, ii. 102.

Wylley, Thomas, his plays, ii. 220.

Year. _See_ Calendar, New Year’s day, Spring, Summer, Winter.

_York Plays_, ii. 409.

‘Youling,’ i. 120, 142, 260.

_Youth_, ii. 200, 453.

Yule, derivation of name, i. 230.

Yule-log, i. 262, 267.

Yule-straw, i. 250.

THE END