Medieval English Mystery (or Guild or
Corpus Christi or Pageant) Episodes |
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1 | The Fall of the Angels (ready) | York | 10 | Shepherds (1) (to be done) | Wakefield | |
2 | The Fall of Man (ready) | York | 11 | Shepherds (2) (on its way) | Wakefield | |
3 | The Killing of Abel (ready) | Wakefield | 12 | Shepherds (to be done) | Chester | |
4 | Noah and the Ark (ready-extensive notes) | Wakefield | 13 | The Woman Taken in Adultery(to be done) | York | |
5 | Abraham and Isaac (to be done) | Chester | 14 | Pilot and His Wife, Procula (to be done) | York | |
6 | The Annunciation and Salutation (to be done) | N-town | 15 | The Buffeting of Christ (to be done) | Towneley | |
7 | The Trial of Joseph and Mary (to be done) | N-town | 16 | The Crucifixion (to be done) | York | |
8 | The Wise Men (to be done) | Chester | 17 | Harrowing of Hell (to be done) | Wakefield | |
9 | Herod the Great (ready-extensive notes) | Wakefield | 18 | The Last Judgement (to be done) | Wakefield | |
Resources and Acknowledgements |
The “Corpus Christi”, “Mystery”, or “Guild” Plays Here is a modern English selection of 18 episodes from the four complete cycles covering the period from the Creation to the Day of Judgement. They are intended to be acted. They are close both to the original text and to the original tone. And, to help readers get a sense of the active involvement of the playgoers in the episodes there are new stage directions suggesting ways for actors to speak to and with the playgoers.
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These episodes were played for 200
years all over England, well into Shakespeare’s early lifetime.
Unfortunately, nowadays, we find it difficult to see what remarkable
theatre they were, possibly because they seem unfamiliar.
We don’t have to treat these plays with the sombre solemnity with which they are usually treated- The text, stage directions and notes were prepared by Dr Barry Fox (Acadia University, Nova Scotia and Dr Janet Hill (Saint Mary's University, Nova Scotia). If you use any of this material, please acknowledge your source.
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1. Creation & the Fall of the Angels
Actors: from York - The Barkers (Tanners)[1]
Characters: GOD, SERAPH, CHERUB, LUCIFER, 2nd ANGEL, 2nd DEVIL (plus other Angels who can sing, and Devils)
GOD Ego sum Alpha et O: vita, via, veritas, primus et novissimusI am Alpha and Omega: the life, the way and the truth, the first and the last
I am great, I grant grace, I am God without beginning, I am the maker unmade, in me is all power. I am the way to winning the life perfect and spiritual. I am highest and first; whatever I command will be. The blessing of my countenance will permeate the world, Will pour forth, protect it from harm, My body forever remaining in bliss. Unending, without end.
Since I am maker unmade, and greatest in power And will always be endless, and nothing is but I, 10 Suiting my position I will create properly A place full of plenty, formed to my wish, And then, I, with that act, Will have made an abundance of things, And my work will continue. All created from nothing.[1]
My spirit will inspire[2] my power To make work only of high worth. And first, in truth, to fulfil my thoughts. With my blessing I say let instantly be her[3 20 About me, joy, all-protecting, Into which bliss I say let there be here Nine orders of angels, most pure[i] Praising and worshipping me forever.
Then the angels sing "we praise thee O God, we acknowledge thee to be the Lord" (original stage direction)
Now, here[4] beneath me, I name a new place; This island is “Earth.”[1] Now let everything be:[i] All of Earth and Hell, and the highest place, Heaven. Those living good lives will live in these[2] places. [To the angels] My ministers, I grant this to you, While you are upright in thought.
And to those who are worthless, I promise My prison where you will suffer.
Of all the powers I have made, I create one Just below me in rank, as master, as mirror of my might; I establish you here, to live in bliss obediently; I name you Lucifer, Bearer of Light. Nothing shall harm you here. In this bliss is your dwelling All that is good will be at your call For as long as you obey your God.
Then angels sing "Holy, holy, holy, Lord God of hosts" (original SD)
SERAPHIN (to God) Ah, merciful creator, great is your might, Who has made at a word all these marvellous works. Let us who just now were but nothing and now Have great strength, live in bliss through his blessing. Praise that[1] lovely lord for his light, In praise let us worship him always In obedience flourish about him Nevermore without joy.
LUCIFER (to the audience)[2] All the mirth that was made shows in me! The beams of my brightness burn bright, 50 And now I see me, how fine my appearance How like a Lord I remain in this light. I'm more striking by far than my fellows.[3] In me there is nothing to tarnish; I know I am handsome and glorious. My power surpasses my peers'[4]
CHERUBIN (to God) Lord with praise everlasting we praise you alone. You, mighty maker who created us, made us, And shaped us so worthily to live in this place, Where feelings of filth will not foul us or fade us. 60 The bliss all around here protects us. We need never fear harm As long as in thought we are upright In the worship of him who made us
2ND ANGEL[1] (to the audience) Oh I'm handsome and glorious,[2] how well-shaped my body! I’m the model of all that is beautiful, All that is good is mine; that's very clear. The beams of my brightness rank me with the best. I’m so firmly in bliss That I shimmer and shine in the light. 70 Here no worries will gnaw at me. Pain never torment me.
SERAPHIN With all of our being we worship your will You, glorious God, the source of all grace With a strong voice let us always stand firm. O Lord, to be fed with your food-- The gift of grace, Lord, you always provide-- In life everlasting! Who tastes of that food[3] And sees your face can never be hungry. LUCIFER Oh truly, indeed, I am made of great worth; In glory my glittering radiance gleams; I control such power I'll always have pleasure. Through my bright beams for ever I'll bide in this bliss. I have no need to think about harm. I control all joy at my whim. And shall dwell on high, Above, in the highest of heaven.
There I'll array myself gloriously, There all will revere me for my fame. I'll be just like him who is highest in height.[1] Oh how worthy and exalted.-- Oh God![2] All falls down! My power and strength are all weakened— Help, friends![3] In truth I am falling.
2 ANGEL Wherever I look we are dropping from heaven One thing is sure, we are going to grief.
The angels fall into the mouth of hell
LUCIFER Out, out[i] Oh horror! I am helpless. Here is so hot. I am mired in a dungeon of misery. Where have I gone, so handsome and pure? Now[1] alas I, once so happy, am loathsome. 100 What was brightness in me is now blackness and dark, My misery burns me up without ceasing— Insanely I wail and I grimace[2] Oh misery! Now, I am boiling in woe.
2 DEVIL No, no. I go mad with agony; my mind cannot think[ii] The food we have here now is just filth.[3] We were set up in bliss but are now burned in pain-- Wretch, Lucifer, [4] go; you lost us our light Your deeds cause our misery now, You set us up for the harm we endure, You were our light and our leader,[iii] 100 You promised we'd end up highest in heaven.
LUCIFER Oh alas! Woe now is me, it is all getting worse.
Your blame doesn't help us—I just told you my thoughts.
2 DEVIL Well scoundrel you ruined us.
LUCIFER You lie, out, alas! How could I know we'd end up like this. Curse on you scoundrels you smother me in smoke.
2 DEVIL You brought this misery on us.
LUCIFER You lie! You lie!
2 DEVIL You are the liar, and you'll pay for it too.
LUCIFER Yeah, scoundrels, prepare for a fight. Just let me get at you.[1]
CHERUBIN Now our leader Lucifer has fallen And will burn in grief for his disobedience— Oh Lord, praised be your name who gave us this light, In your righteousness it was always your way To assess and reward the deeds that are done.
Through the grace of your merciful power I see the cause clearly Why he is mired in misery.
GOD These fools fell deluding themselves, with dreams of their beauty Complaining of my power that created, that made them. 130 They will boil in woe according to their actions. Some have fallen into filth that will taint them forever, Them my grace will never protect; My wrath will follow them always.
But all who worship me will dwell here[1] I will continue with more of my work now. Since the power is destroyed of those wanting ruin,[2] To replenish this bliss I will make mankind Out of earth,[i] in my likeness.
But before making him, I will form first Those things to sustain him, Which will naturally please him. And in my first making, to show all my might, Since earth is void, empty, and in dreariest dark I instruct, as I bless, you, angels, give light To the earth, for it faded when the fiends[i] fell. In hell darkness will never be gone "Night" is the name I give darkness; And I call this light "the day." They will be guides for all I do after.
And now by my blessing I part them in two, The night from the day, so they never unite But each by their nature will go its own way. Day and night, you must both do your duty. In everything I shall work by your guidance. I have now done the work of this day All that I've done pleases me greatly And gladly I give it my blessing.
The text, stage directions and notes were prepared by Dr Barry Fox (Acadia University, Nova Scotia and Dr Janet Hill (Saint Mary's University, Nova Scotia). If you use any of this material, please acknowledge your source.
1 The Fall of the Angels (York) © Barry Fox and Janet Hill, 2005 |
[1] Why did the Tanners put on this episode? Was it their access to skins, or to the vats where the skins were treated, or to something else that they wanted to advertise?
1] Contrast Herod in the later episode who boasts of his powers. God doesn’t boast. [2] “Breathed life into” ( cf Chaucer’s Prologue to the CT: “inspired. . . in every holt and heath”) [3] "Here" is used again and again. It refers simultaneously to both onstage and to the areas from which the playgoers watch the plays. [i] There were three main ranks, with each subdivided: the highest were Seraphs, Cherubs, and Thrones; then came Dominations, Virtues, Powers; then Principalities, Archangels and Angels. [4] “here” again. It’s important to notice the immediacy of such directional words as “here,” “there,” “this,” “that.” God is speaking from one of the raised places on the stage, and the world he speaks about is very much visible “here,” below him. [i] The first episode started at 4:30am. The world began at the same time as light arises on the day of the performance. Here, God on his raised locus is addressing the world below him, both onstage and where the playgoers actually sit and stand. Does the beginning of the play take place in the dark with the audience and playgoers only seeing shadows? |
[1] Why “that” not “this”? What’s the effect of the word? |
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[1] God and the angels who will fall speak to the crowd. Seraphs and cherubs speak to God. [2] These are the words of Lucifer. The 2nd Angel copies Lucifer. Janet Hill Stages and Playgoers: From Guild Plays to Shakespeare McGill Queen’s UP 2002 |
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[1] Lucifer has a limited view of what it is to be omnipotent and omniscient. He thinks it means physical beauty, pleasure, self gratification, and admiration from others. [2] At the time of boasting, Lucifer and his followers fall. Here the break in the line coincides with the start of the literal fall. Are they onstage on an elevated stage-level, higher than the playgoers but lower than God? Could they fall into one of the tanner’s cauldrons full of the tannin they use to tan their leather? [3] Could he be asking the playgoers (“friends”) for help?
[i] Lady Macbeth uses the same phrase 200 years later. Shakespeare could well have seen performances of Coventry’s version of these episodes. They were still produced well into his lifetime.
[1] Note the emphasis and weight on “Now.” |
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[2] Hell is both terrifying and funny. ii] The original has "my wit is all went." The use of "went" instead of "gone" has a long pedigree. Or is Lucifer speaking non-standard English as another source of humour for the educated members of the audience? [3] What substance have they landed in that covers them with grime? Are they picking things up; turds, for example, and eating them? Is this an early version of “In Yer Face” drama? Their food in hell contrasts with grace, the food from God. A great deal is made of food through the whole play. Why? What does this suggest about the audience? [4] The fallen angels have left off addressing the audience to quarrel amongst themselves. [iii] Did Shakespeare think of this in Henry V when the importance of the leader is discussed. |
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1] Their grand speeches have deteriorated into school yard squabbling. Or perhaps, even lower, into the rhetoric of Canadian politicians. [1] Is he pointing to the area from which the playgoers watch? [2] “Ruin” (from Latin “ruina”) here still has much the original meaning of “tumbling down,” “downfall.” [i] The original York play has "mould"; that is, God makes everything out of earth; in Towneley's Noah, (another episode in this version) Noah points out that he is like "muck upon mould" [i] At what time did it get light in fifteenth century York. Here is God asking for light. Does it become appreciably brighter during the course of the episode? A very readable version of the York plays is Beadle, Richard and Pamela M. King. York Mystery Plays: A Selection in Modern Spelling. Oxford: Clarendon Press, 1984. |
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Actors: supplied by the York coopers (barrel and pail makers)
Characters: SATAN, EVE, ADAM, GOD, ANGEL
Sources: the early books of Genesis
SATAN My wits are awhirl[1] My fury is smothering my head.
I knew the Godhead well Knew He'd take on himself The likeness of a being He’d created.
It offended me he would not Take on an angel’s likeness. We were beautiful and bright. I thought that He might Assume our nature. 10 That’s what offended me.
[Eying the playgoers]
The nature of a man, He took on; That’s why I’m angry.
[He eyes Eve]
Now God has made a mate for him! I’ll go quickly to her, That way,[2] just there, to undermine his plan And try to snatch that prey from Him.
That would be time well spent If I could betray Him there. 20
I’ll try to, now.
I’ll look like a serpent and go up to her And fake, make up, a monstrous lie.
Eve, Eve.
EVE Who's there?
SATAN It's me, a friend. I've been looking for you To show you something for your own good.
Why do you eat none Of the fruit you see hanging in Paradise?
EVE We may take from any tree 30 Everything we think will be good for us. Except for one. This is the one that will harm us if we go too close.
SATAN And why that tree I’d like to know, Rather than any other one nearby?
EVE Because our Lord God forbids it us. Neither Adam nor I May go close to its fruit. And if we did, he said, We would both die; Our pleasures here would end. 40
SATAN I see. Eve, pay attention to me; Listen carefully and I will tell you What he meant When he spoke of this matter.
He forbade you to eat the fruit-- I know for certain this is why-- Because he wanted no one else to know The special virtues that belong to it. For you will find Whoever eats the fruit of good and evil 50 Will know as much as God himself.
EVE Whey! What type of thing are you That tells me this?
SATAN A serpent who knows well how You yourself may be honoured.
EVE But what honour would we gain by that?[i] We have no need to eat from it. We have the power to be masters Over everything that lives on earth.
SATAN Stop it, woman! 60 You can be raised to a higher state[3] If you only do what I tell you to.
EVE But we are very loath To do anything that would displease God.
SATAN No, don't give it a thought; it isn't dangerous; You can eat it in complete safety.
There's no risk to you at all if you do that;[4] Instead, you'll win honour and have tremendous gains: You will be wise, like God, Equal to him in everything. 70 Yes, you will be gods As wise as he, knowing The difference between good and evil.
EVE Is this true what you say?
SATAN [playing offended] Yes, why? Don't you believe me? I would never tell you anything But the truth; never.
EVE Then I will trust what you have said[5] And take this fruit as our food.
Then she must accept the apple.(original SD)
SATAN Bite on it firmly, don't be shy, 80 And take some to Adam to add to his delight And increase his joy.
Then Satan will go away.[original SD][6] EVE Adam, try some of this marvellous food.
ADAM Oh no! Woman, what made you take this? Our Lord instructed us both To watch out for this tree of his. What you have done will made him angry. Alas, you have done wrong.
EVE No, Adam, don't be upset by this. I'll tell you why. 90 A serpent has let me know We will be like gods, you and I, If we eat Of this tree here; so Adam, Don't lose the chance to gain that honour.[ii] We will be as wise And as raised up As God himself, who is so great. That's why you ought to eat some of this food.
ADAM I wouldn't say no 100 If I was sure that what you say is right.
EVE Bite on it firmly, for it's true That we'll be gods and know all there is to know.
ADAM To gain that name of god, I'll take your advice, And taste it, then.
And he takes and eats.[7] Original SD
Whatever have I done; I am ashamed![8] Wicked advisor. I curse you. Oh, Eve, you are to blame. It was you inveigled me into this. I am ashamed of my body; 110 I see now I am naked.
EVE Adam, alas, and so am I.
ADAM For all our sorrows, we should sink down. For we have grieved almighty God Who made me a man- Wickedly broken his instructions. Alas that we ever started this. You are the cause of all this, Eve; You made this bad bargain.
EVE No, Adam, you can't blame me.[9] 120
ADAM Then who should I blame? You can’t deny it, Eve, my dear.
EVE The serpent deserves all the blame Betraying me with terrible untruths.
ADAM Why did I ever listen to your talk, Take in that tale you told me? Now I must pray for mercy And curse that wicked act, The dreadful deed I did. I stagger with grief at our bodies. What can we hide them with?[10] 130
EVE Since what has happened's happened[iii] Let's use those fig-leaves.
ADAM We'll let it be just as you say, For we are naked, our bodies bare. Oh if I only knew where I could hide[iv] myself from my Lord's sight[11] Where I wouldn't be noticed.[12]
GOD Adam, Adam!
ADAM Lord?
GOD Where are you? Quick.[13]
ADAM I hear you, Lord, but do not see you.[14]
GOD Tell me the reason for it. 140 Why did you do this deed?
ADAM Lord, Eve made me do this wrong. She made me break your trust.
GOD Tell me, Eve, why did you cause your mate To eat the fruit I said should remain hanging on the tree, Commanding you to take none of it?
EVE A serpent, Lord, enticed me to do it. I wish I'd never done anything so foolish.
GOD Ah, wicked serpent;[15] woe be to you for ever. 150 Because you made misery for them, In such a way, Right here[16] you have my deepest curse With all the power I can give it.
On your stomach you will slither Forever hostile To mankind, no matter where or who. And earth alone will give you Your food and drink to live by. Adam and Eve, you too 160 Will sweat and labour upon earth, Will work hard to get your food.
ADAM Alas, how soon before we fall, We, who had all the good in the world? This is too loathsome.
GOD Now, Cherubin,[17] my angel bright, Quickly drive down these two to Earth.
ANGEL It will be done, Lord, as is right. What you wish to be. 170 Adam and Eve, move on you two You may live here no longer. Quickly. Get on your way;
(He pushes them offstage into the playgoers’ area.)[18]
They are about to lament You may well sing of sorrow.
ADAM Alas, grieving and full of sorrow We have to wring our hands. For more information on stages and playgoers, see Janet Hill Stages and Playgoers: From Guild Plays to Shakespeare McGill Queen’s UP 2002 The text, stage directions and notes were prepared by Dr Barry Fox (Acadia University, Nova Scotia and Dr Janet Hill (Saint Mary's University, Nova Scotia). If you use any of this material, please acknowledge your source. 2 The Fall of Man (York) © Barry Fox and Janet Hill 2005 Press to Return to List |
For more information on stages and playgoers, see [1]. In the original, the line lengths, especially of Satan's opening speech, are much shorter than those of God, the main speaker in the previous episode. What effect might this have on how the playgoers perceive the speakers?
[2] Which way? In through the audience? If through the audience, what has the play turned the playgoers into?
[i] Banquo: as long as I lose none in gaining it? Falstaff on honour? Does Shakespeare remember episodes like this when he is writing?
[3] Doesn't this sound like Macbeth to himself? Lady Macbeth? Banquo?
[4] Doesn't he sound like a modern politician who has removed funds from a country's health budget and then tells the people there's no danger. Or perhaps a dishonest broker.
[5] She sounds as if she's just bought one product over another, from a TV soap powder huckster.
[ii] How different is Lady Macbeth?
[7] This original stage direction turns Adam’s action into a parodic reminder of Holy Communion. [8] Like Lucifer’s fall, there is no lead up to Adam’s awareness of his fall. It happens suddenly.
[9] This is the first of the domestic quarrels to appear in Corpus Christi plays. Others include that between Noah and his wife and that between a sheep stealer and his wife. Lady Macbeth and Macbeth also quarrel. [10] From the start they could have been wearing goatskin body-stockings.(Source?) [iii] In the original she says: "Sithen it is thus betidde" ("since it has happened like this"). Her matter-of-fact attitude is similar to that of Lady Macbeth when she talks to Macbeth. It might be worth contrasting Adam's position with Macbeth's. [iv] Macbeth too is deeply concerned by who or what can see him. In fact the more I read this episode the more I think Shakespeare must have been aware of an episode similar to this when he was writing Macbeth. (Note by BJF, not by JH.) [11] Of course there is no way that anyone ever can be hidden from God’s sight. Adam’s utterance here reminds the playgoers of this [12] In a later episode, Cain asks for something similar, but God, on his dais, sees everything. [3] Note the abruptness of God’s order. God wants instant response; we invent excuses. He is an omniscient God who knows where Adam is. Here he makes Adam confront what he has done. [14] The playgoers all see God and Adam; that Adam cannot see God because he is too scared to look up. Perhaps he is grovelling in self-pity.
[15] Although the earlier, original stage direction has “Satan will go away.” Clearly he’s been hanging around, visible to the playgoers for the whole episode. [16] Again, action occurs at this very moment in this very place--both on stage and the area around the stage. What does this make the playgoers?
A very readable version of the York plays is Beadle, Richard and Pamela M. King. York Mystery Plays: A Selection in Modern Spelling. Oxford: Clarendon Press, 1984.
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3 The Killing of Abel
The Actors: from Wakefield? (Towneley MSS)
Characters: Pick-harness, Cain, Abel, God.
What happens: The piece opens with Pick-harness speaking directly to the playgoers, preparing them for his master, Cain. Cain enters driving a team of plough horses. Abel joins him and the two go off to burn their tithes—Cain reluctantly. When his tithe won’t burn properly, Cain reviles Abel. God reprimands Cain who then murders Abel. God curses Cain and anyone who might slay him. Cain calls in Pick-harness to help hide the body. Pick-harness argues with Cain and relays directives from Cain to the playgoers. The play ends with Cain directly addressing the audience, informing them he is going to hell.
Acting areas: Most action takes place on the lower level of the stage, close to the audience (the platea). God speaks from the raised, isolated area (the locus).
Enter Pick-harness,[1] Cain’s servant [2]
PICK-HARNESS: [directly to the playgoers] Hello. . . . Hello. . . . . . OK everyone[3] Stop this racket; Yes, here I am again A merry lad, Always ready for a bit of fun.
Don’t forget, my master’s sent me on ahead To stop your din. And if you won’t, The devil himself will make you.
Anyone who wants to carry on chattering Can blow my arse hole From the front and the back Till their teeth bleed.
Everybody here, listen; I forbid you to carry on this racket. 10
Anyone crazy enough to disobey—[perhaps eying a particular playgoer] The devil can hang him out to dry. By the neck!
Listen. I’m a pretty important person. [Turning to others?] And my master is a very fine farmer. All of you know him well. And if you make problems for him I’m telling you, you won’t get far.
I’m pretty sure some of you serve him. [Who is he looking at?] 20 Already. So, All of you out there, Pull your lips down over your anger And pretend to smile. And when my master arrives Make sure you make him welcome.
Goodbye, I’m nipping off for a while.
[Cain enters driving a team of plough horses][4] CAIN: Go on, Greenhorn! Look out Grime. Go on, pull. Let God strike you dead. You stand around as if you’ve fainted. What, Mare! Aren’t you going to move? Look out; let’s see how Down can pull. Now, rascal, now. You’d better pull, or else. What? You look as if you’re not afraid of anyone. Come on, Donning, you know how to pull. Aha! May God make your lives miserable. Ha, now she’s heard what I said. No doubt about it, you’re the worst mare I’ve ever had ploughing for me.
Ho. Pick-harness, ho. Come here quickly.
PICK-HARNESS: [At Cain but for the playgoers] I hope to God you never prosper.[5]
CAIN: [roughly, to Pick-harness Here, boy, do I have to hold the plough and drive the team? Can’t you hear me yelling for you? 40
PICK-HARNESS: [ignoring Cain; to the team] Yo, Mall Stott, shift won’t you? Leming, Morell, Whitehorn, Yo!
[To Cain and the audience, full of satisfaction]Now, can’t you see? They’re hurrying.
CAIN: May God make you sorry, boy. It’s the lack of food that does it.
PICK-HARNESS: [to playgoers] That’s because I hang their food behind their arses. And tie up their necks so they can’t reach it.
And stow stacks of stones in the racks for hay.
CAIN: You’ll pay for this across your false pink cheeks.[slaps him][6]
PICK-HARNESS: Well you can have that blow back again. [slaps him]
CAIN: I’m your master. Are you going to fight me? 50
PICK-HARNESS: I tell you plainly, I’ll repay you with the same amount and weight As you give me.
CAIN: [giving up] Well, there’s nothing for it now but to shout at the team So we can plough this land.
PICK-HARNESS: [to the team] Harrer, Marrell! Go on, quick.
[To the playgoers]But let the plow stand still.
[Enter Abel][7] ABEL May the Lord smile on you, dear brother And on your servant, Pick-harness.
CAIN: [aggressively] Come kiss my bum. I don't particularly want to curse you 60 But I want you somewhere else, not here. Why can't you wait till I summon you? Come here and help drive the team, Hold them at least.
Oh, kiss the devil's arse. On second thoughts Go grease your sheep under their tails. That's the best thing you can do. 65
ABEL: [mildly] Brother, no one around here Wants to create problems for you.
Dear brother, listen to what I have to say: It's a long established custom with us That wise people worship God 70 By offering up a sacrifice. Adam requested of us and taught us To burn a tenth of our belongings. Step up, brother, and let us go to worship God; We've been dilly-dallying here too long. Let's offer up to him part of our possessions. It doesn't matter whether it's wheat or animals.
So, brother, let's set off, Making sure we've cleansed ourselves of the devil Before we make our sacrifice. 80 And, for this holy action Happiness will be ours for ever and ever, Given by him who nourishes our souls.
CAIN: [ironically] Oh yes, that’s a really good idea!
It's as stupid as letting the geese out So they can hear the fox preach to them.[8]
How much longer are you going to keep me from my chores With your eternal sermonizing? Just hold your tongue, won't you, Put it where the long grass tickled the old woman.
Or go and sit down, right where you expect to find the devil walking. You and your empty prattle!
So you want me to leave my ploughing and all my other work To go and make an offering with you? You must be daft. I'm not crazy. Go to the devil and say I sent you!
[Could this be to the playgoers?] What does God do for you that makes you want to praise him? All he does for me is bring sorrow and misery.
ABEL: Cain, stop your complaining. Don't you realise that God gives you everything you have in the world.
CAIN: Amazing, isn't it? He gives me everything, you say. Maybe so, but when I actually need something He won't let me borrow so much as a penny. And that’s not bullshit; it's the absolute truth. 100
ABEL: Brother, our elders taught us First we should willingly pay our tithes[9] And then, afterwards, in praise of God, we should burn them.
CAIN: A fine example our priest sets! He's still holding on to that penny I gave him Last time I went to church.
ABEL: Dear brother, let us walk on. 106 We really ought to offer up our tithes.
CAIN: [mocking] But why should I offer tithes up, dear brother? Each year I'm worse off than the one before.[10] And you know that’s not bull-shit, either. 110 My earnings are puny. No wonder I'm so skinny. By Christ who ransomed me at such great expense[11] I could complain to God for as long as I wanted And he wouldn't let me have anything.
ABEL: All the goods that you have in plenty Are but a gift from God.
CAIN:[12] They're a "gift" to me, are they? I hope you get as much of his "gift" as I got. He's always been my enemy. If he'd been my friend 120 I’d certainly have known. When everybody else's wheat was growing well Mine wasn't worth a needle.
When it was the time for me to sow And I was short on seed And had a real need For wheat, He never let me have a bit of his.
So he'll get the same back from me.
You can scarcely blame me For treating him the same way he treated me.
ABEL: Dear brother, don't speak like that. 130 Let us, instead, go forward together. Good brother, let us set off right away. I don't think we should delay any longer.
CAIN: Yea, yea, yea. You're jabbering nonsense. I want the devil to come to my help if I'm ever in a rush To hand over my possessions To the devil, God or man.
If I give away everything I own 140 I'll have to make do with torn clothes. I'd do better to hang onto what I've got Than go begging from door to door.
They keep stopping and starting, Abel trying to break out into a run.
ABEL: Brother, come on. In the name of God 144 I am very afraid we might get into trouble. Let's move fast so we can get there soon.
CAIN: Wee! In the name of the devil, run on ahead. Come on, get on with it. I reckon you're mad. Do you really think I want to skip around Giving away my worldly wealth? 150 Let the devil take anyone who taught me To do something as crazy as that. Why would I want to lose the benefit of my hard work Just to wear out my shoes and tear my leggings?
ABEL: Dear brother, it would be one of the wonders of the world If you and I should go our ways separate from each other. Our father would weep deeply if we did so. Aren't we brothers, you and I?
CAIN: No, [to playgoers] But keep on nagging, if you think it'll help. I still think you're out of your head. I couldn't care less if the old man's happy or sad; 160 I hate giving my belongings away. Though, to be honest, I’ve often gone that route When I thought I’d gain something from it. But I see I'll have to move on. Since we'll be going in any case Now go ahead --.
[To the playgoers]I hope things go poorly for you.
ABEL: Dear brother, why do you speak like that? Let the two of us go on together.
And, may the Lord be thanked, isn’t it beautiful weather?
[They reach the place of sacrifice.]
CAIN: Place your sacrifice-bundle on this mossy bank 170
ABEL: Yes, brother, I think I will. May the lord of heaven accept it kindly.
CAIN: You must offer up your sacrifice, first,
[To the playgoers] But only if you’re mad.
ABEL: [Praying] God, who shaped all on earth and in heaven, I pray to you to hear my voice And, if it is your will, take in thanks The sacrifice that I here offer you. I give this with the purest of motives To you, my Lord, who sent us everything. I burn it now with my thoughts set on high 190 And worship Him who has made all the world.
[Burns his sacrifice-bundle]
CAIN: Shift your knees. Now you've finished, let me get at it. 182 [Praying]Lord of heaven, make sure you listen to my prayer And God forbid you should show me gratitude or courtesy; As sure as I want to carry on using these two legs Let me make it quite clear That giving you this sacrifice of wheat Or whatever it is I’ve just grown Is fundamentally against my will. Got it?
But I suppose I’d better get started since I’ll have to burn my sacrifice Some time or other.
[Begins to count the first ten sheaves, keeping the best for himself.][13]
One sheaf, one, and this makes two But I don’t want to hand over either. Two, two, now this makes three: Yes, this one, too, will stay with me.
[Explaining to the playgoers]I’m going to choose carefully and make sure I keep back the best of the grain. That’s just plain common sense.
OK, OK, four, see, here I didn’t grow anything better than this, all year.
[To playgoers] At exactly the right time of the year I sowed beautiful wheat 200 Yet this is what it was like when I went to cut it down: Thistles and briars—yes, huge amounts of them—[14] Not to mention every other type of weed that ever existed.
Four sheaves four, so fourth and so fifth.
If I hurry about handing over my sheaves like this, It'll be a long time before I prosper.
Five and six and this makes seven. But God in Heaven is never going to get them. He won’t even get a sniff of these four here, Not while I’ve got breath in me.
Seven, seven, now this makes eight 210
ABEL: Cain, brother, you are not devoted to God.
CAIN: At last! You’ve got it! That’s the reason I say I won’t hand over my goods. If I’d given him these as my tithes You’d think he was my friend.[15] But he accepts my belongings so easily He can’t possibly be.
Well, eight, eight and nine and this makes ten:
[He looks over them to select the smallest. Questioning the playgoers]
We won’t really miss this little one.[16] Shall I give him the one that’s lying over there? 220
But even that goes against the grain.
ABEL: Cain, hand over a tenth of all your produce, properly.
CAIN: [Starts to count the second ten] Grrr. 12, 15, 16
ABEL: Cain, you’re not counting properly, and you’re choosing the worst sheaves.
CAIN: OK then. Come here and cover up my eyes So I won’t be able to select the worst ones for God. Confound you, why don’t you shut up? Or would you prefer me to close my eyes for myself? Either way you’d have to agree I’d done no wrong.
[covers his eyes and carries on counting. Then he looks to admire how he’s laid out his sheaves.] Now let’s take a peek at what’s happened— I’ve got to admit it, that’s pretty good. 230 I did it perfectly, considering I did it by guess-work. Just look how neatly I laid those sheaves out.
ABEL: Cain, I don’t think you’re afraid of God at all. 233
CAIN: May the devil take me if God gets so much as A handful a grain more than is in that sheaf.
Ah, he’ll get a real bargain with that one.
I won’t give enough to that guy in the castle [Cain points to God who is watching from his raised site (his locus)] For him to use to wipe his arsehole.[17]
After all, I had to put a lot sweat into producing That one, and all the others lying here. I made my back ache Cutting it down and then stacking it up. So don’t ask me to hand over any more.
I’ve given as much as I'm going to.
ABEL: Cain, my advice is that you give your tithe properly 245 Out of fear of the one who sits up there on high. [Again the audience is reminded of God who is watching everything from a raised place].
CAIN: Don’t concern yourself with how I make my offering. Stop interfering and look after your scabby sheep. I tell you, if you carry on paying attention To how I do it, it’ll be the worst for you. Would you like me to give him this sheaf? Or this sheaf? Nah, I don’t want to give him either of them. But take this, Now he’s got two.
[He chooses his second sheaf for his tithe. To the playgoers] I’ve got to lose it for the health of my soul.
For what God is about to receive He’d better be duly grateful.
ABEL: Cain, I have to say it again. My considered opinion Is that you make God your friend By making your offering properly.
CAIN: God my friend? Not a chance, unless he makes the first move. I’ve never done anything but right by him. 260 I don’t care how much of an enemy he’ll be. My considered opinion is that I won’t give him anything else. Why don’t you change your mind? Think like me. You still haven’t offered up a tenth of your miserable pigs, yet, have you?
ABEL: Why don’t you sacrifice properly? You’ll find God is your friend.
CAIN: Yeh. And why don’t you go kiss the devil’s rump. 266 May the devil hang you by the neck. How I’ve sorted out my sacrifice is none of your business. Just keep your nose out of it. My advice to you is to stop this jabber. 270 Whether I offer well or poorly You can still stay calm and talk reasonably.
And now, since you’ve made your burnt offering I’ll set light to mine.
[He sets his tithe alight but it won’t burn well]
Hey, get out, help, help me, blow! My offering’s never going to burn. Puff, this smoke is humiliating.
[He bends over and blows on it to get flame] Burn stupid fire, in the name of the devil.
Oh, what devil in hell caused this? I nearly stopped breathing; 280 I nearly choked to death. It stank like hell. I can’t stay down there any longer.
ABEL: Cain, this sacrifice is not worth a turnip. Your offering should burn without smoke.
CAIN: Get out of it; go and kiss the devil right in his backside. It’s because of you it burns so poorly. I just wish that fire and that sheaf, every little bit of them, Were down your throat. 290
[God speaks from his raised spot.]
GOD: Cain, why are you so hostile to your brother Abel? You have no need to argue as you do. If you offer your sacrifice properly you receive your reward. But if you fail to prosper because you’ve made a bad sacrifice You receive only what you are owed.
[To the audience]CAIN: Who’s that hob-goblin yapping up there? That one with the squeaky voice?
[To Abel]Come on. It’s dangerous here; let’s set off, now. God’s out of his mind. 300
[Cain tries to get Abel to leave the spot with him] OK, Abel, let’s stretch our legs. It’s pretty clear God isn’t my friend.
I think we should move from this spot.
ABEL: Oh Cain, brother, you have done wrong.
CAIN: No I haven’t. But we can still get moving.
[To audience]I’m going to seek out a place to hide Where God can’t see me.
ABEL: Dear brother, I will go To the field where our animals are. To see if they’ve fed well or are hungry. 310
CAIN: [angry, picking up a jaw bone] Oh no you don't. Stay here. I’ve got a bone to pick with you. We’re going to have a little talk before you go anywhere. D’you really think you’re going to get out of it as easy as that. Na. After what you did to me, I owe you one. And now’s the time for you to get your just reward.
ABEL: Brother, why are you so angry with me?
CAIN: Oh thief. Why did your fire burn so bright When mine just smoked like it would choke us?
ABEL: I think it was God’s will 320 That mine burned so clear. How can you blame me if yours smoked?
CAIN: Damn you, you’re going to pay for it. Before I finish, I’m going to use this jaw bone
[Strikes him with a jaw bone] To separate you from your life.
So lie down there and take a break. This is the best way to deal with all rascals.
ABEL: O Lord, I ask for vengeance, vengeance, For I have been killed but am guilty of nothing. 330 [Dies.]
CAIN: Yes, lie down there, you rascal, lie there, lie.
[To the audience]And if any of you out there think I did wrong I’ll make up for it By doing something far worse to you, For everyone to see. That'll teach you what wrong means.
But now, since he’s been put to sleep, I'd feel better if I crept into some hole. I’m quaking with fear, and can't think of a plan To escape. If I’m caught, I’m as good as dead. I’ll rest up here for forty days. 340
[To the audience] And I’ll curse whichever of you makes me move on.
[God from his locus] GOD: Cain, Cain. 342
CAIN: Who’s that calling me? I’m over there, can’t you see?
GOD: Cain, where is your brother Abel?
CAIN: What are you asking me for? I think he’s in hell. Yes, that’s where he is, hell. Whoever’s down there can tell you for sure.
But he might have fallen asleep somewhere.
You don’t really think I’m my brother’s keeper, do you?
GOD: Cain, Cain, you were insane! 350 The voice of your brother’s blood Whom you so treacherously killed Calls out for vengeance from earth to heaven.[18] And, because you have brought your brother low, I lay upon you now my own curse.
CAIN: Ho, you can hand out as much punishment As you like. But, I’m telling you I’ll take no notice of it. It will be unused so You can take it back and use it on someone else after I’ve left.
Because I’ve sinned so much You won’t show me any mercy. You’ll take your grace from me. 360 So I’m going to hide myself somewhere.
[To the audience]And if anyone can find me I give them permission to kill me, Wherever they meet me-- On a path or a road, it doesn’t matter; And when I am dead make sure you Bury me in Goodybower, at the head of the quarry Just outside Wakefield.[19]
No doubt about it, if I manage to get out of this place safe and sound, I won’t give a fart for anyone.
GOD: No, Cain, it will not be as you wish. 370 My will is that no one ever kills another. And he that kills you, whoever he is, Will be punished for the deed seven times over.
CAIN: No matter, I know where I’m going to go: The right place for me is hell. There’s no point asking for mercy Because even if I do ask for it, I won’t get any.
[Pointing to Abel]But I wish this body was out of sight; Someone might come along and find it. And say something like "Flee foul criminal, " 380 Thinking I’ve killed my brother,
If my servant Pick-harness were here We could bury it together.
Come on, Pick-harness, rascal; Pick-harness, come here.
PICK-HARNESS: Master, here I am
CAIN: Didn’t you hear me, boy. We’ve got a job to do. Take that, and that boy. [Hits him]
PICK-HARNESS: I curse that round thing on top of your shoulders, Even if you are my real life master.
I spend all day, running here and trotting there, And you constantly hit me.
I just keep walking into blows.
CAIN: Peace man, I only used my hand. 393 I have a plan I want you to hear.
Today I killed my brother. [wheedling] I’m asking you, you lovely, lovely, lovely boy, if you can, To get rid of the pile of bones.[20]
PICK-HARNESS: You haven’t really killed your brother Have you?
CAIN: Peace, man. By the pain Christ suffered on the Cross, 400 I only said it for a joke.
PICK-HARNESS: Hey, if it wasn’t that I’m afraid you’d injure me too, I’d leave you. We’re sure to get into serious trouble if the bailiffs catch us.
CAIN: Ah, dear servant, please stop this noise; hush And I will grant you a pardon.
PICK-HARNESS: Will you make it public throughout the land That I am under the special protection of the king?
CAIN: Yes, I swear to God, right now. 410
PICK-HARNESS: How will you do it? It may be a long time before you’re important enough.
CAIN: Be a good boy. Stand up quickly To the audience And silence these people out there—every man and his wife. And everyone who does as I ask Will have a smooth run to good fortune. I guarantee it.
But you have to be a well-behaved servant.
I need you to call out to them: “Listen carefully” 417 D’you understand? I want you to stop their chatter.
PICK-HARNESS: I see. “Stop their chatter.” Ok.
[To the audience]Everybody, “chop your shipper”
No, that’s not it.
“Kiss my whopper”
No, nor that.
“What’s the matter?”
No. I’ve got it!
“Hiss my patter.”
CAIN: [to Pick-harness, to be announced to the crowd] “I command you in the king’s name.”
PICK-HARNESS: [To the playgoers] “And in the name of my master, the murderer Cain”
CAIN: “That you out there find no fault with us”
PICK-HARNESS: “Yes, even though he only ever serves cold roast at home.” 422
CAIN: “Neither with the master nor with his servant.”
PICK-HARNESS: What’s he on about? I think the guy’s crazy.
CAIN: “They are utterly and completely honest.”
PICK-HARNESS: But I should make it clear, My master is so miserly. He only ever eats cold pottage.[21]
CAIN: “This is the king’s message.”
PICK-HARNESS: And even then, I’m never allowed to eat more than half of what I want.
CAIN: Tell them the king wants them all to be safe.
PICK-HARNESS: [to the playgoers] I could really do with a pint of beer right now.
CAIN: He will allow them to wander wherever they want to.
PICK-HARNESS: My belly is ready for a good meal, too. 432
CAIN: “Nobody in the world is to reproach either the master or the servant.’
PICK-HARNESS: I want to remind you. The man speaking Is the chap who has just murdered his brother.
CAIN: “Ask every one to bow down to them, lovingly.”
PICK-HARNESS [To the playgoers, again appearing to mishear his instructions] “Poorly woven cloth always looks slovenly.”
CAIN: If you carry on making pronouncements like that I hope it will be a long time before you get a decent pair of socks.
Go out there now and ask everyone To “give a gift for what I say.”
PICK-HARNESS: OK Everyone, “Give your goat a whisp of hay”
[Pick-harness tries to climb up the locus on which God sits, to escape Cain who is chasing him].
CAIN: Come down from that castle in all the devils’ names. 450 And may you go to the devil. I’ve got to say it: I’ve never met anyone before Who comes even close to my brother Abel For wickedness.
PICK-HARNESS: [to the playgoers] And I’ve got to say to 444 Everyone of you, old and young, men and women, Before you leave May you all have the same blessing That God in heaven bestowed on my master.
Enjoy it well for as long as you live.
I hope he grants what I’ve just said.
CAIN: Get down here this moment, by the devil, And stop making me angry. Now, take that plough And get on with your ploughing. I’m going to teach you another lesson. I warn you lad, you’d better not irritate me ever again. In any way at all.
For by the wounds of Jesus who died for us At such great cost to himself, if you get under my skin Once more I’ll hang you from this plough 460 With this rope. Got it?
[To the playgoers]Well, goodbye everyone
I have to move on. I've got no choice. It’s been solemnly decreed That I’ll be living with that fiend Satan. I’m to be his servant in hell, for ever and ever.
Even so, I wish ill-luck on anyone Who wants me to go there now.
So, good bye, those of you who aren’t very important And fare well those of you with all the power,
I’m off to hide myself For ever.
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[1] Pick-harness is called “Garcio” in the original. The Garcio type of character, an insolent young man, also appears under different names in other pageants. He is the type who acts as an impresario, bringing the noisy, waiting audience under control, preparing them for the arrival of his master. [2] There are no original stage directions for this play. We are told that Glovers presented this pageant. [3] Pick-harness is a cheeky boy. His job here is to settle the noisy crowd in an entertaining way, preparing it for the arrival of his master, the first murderer.
[4] We do not know how the plough team appeared on stage. There are many possibilities: at least nine real horses come onstage and then leave; one old nag of a horse appears and is addressed by nine different names for comic effect; the horses are to be imagined by the audience (there was no “off-stage” so the effect of nine offstage horses could not have been created); it was a horse on wheels they couls sit on whose different parts were addressed by the nine names, again for the opening comic effect.
[5] The discontented servant and bullying master/ disobedient servant and troubled master relationship may have been one some members of the audience lived.
[6] This comic exchange of blows still exists in children's Punch and Judy shows. We see a lot more of it in the Noah episode.
[7] The audience's attention has been captured by the slapstick humour. Now for the important business. The man who wrote the Wakefield plays is assumed to have been a priest.
[8] Note that Cain likens God to the destructive and wicked fox who spends his life killing vulnerable geese and chickens
[10] Cain's complaints are similar to those of the shepherds in other guild plays. [11] Ironically, Cain doesn't notice the object of honesty he has chosen to swear by is related to the God he mocks. The apparent anachronism, that Christ doesn’t appear until after he is born later in the series of plays acting during the day, is not considered anachronistic. Etc.
[12] Cain uses the audience as a union leader might address a union meeting: it’s a clear case of us against them; workers against the boss.
[19] And since this is a reference to a particular geographical place, the name of any local spot could be substituted in a modern performance.
[20] Was this somewhere in Shakespeare’s mind when got Hamlet to lug the guts into the neighbour room.?
[21] A humble sort of stew. Poor quality food
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The text, stage directions and notes were prepared by Dr Barry Fox (Acadia University, Nova Scotia and Dr Janet Hill (Saint Mary's University, Nova Scotia). If you use any of this material, please acknowledge your source.
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5 Abraham and Isaac
still being developed -- come back soon , |
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The text, stage directions and notes were prepared by Dr Barry Fox (Acadia University, Nova Scotia and Dr Janet Hill (Saint Mary's University, Nova Scotia). If you use any of this material, please acknowledge your source.
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6 The Annunciation and Salutation
still being developed -- come back soon |
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The text, stage directions and notes were prepared by Dr Barry Fox (Acadia University, Nova Scotia and Dr Janet Hill (Saint Mary's University, Nova Scotia). If you use any of this material, please acknowledge your source.
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7 The Trial of Joseph and Mary
still being developed -- come back soon |
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The text, stage directions and notes were prepared by Dr Barry Fox (Acadia University, Nova Scotia and Dr Janet Hill (Saint Mary's University, Nova Scotia). If you use any of this material, please acknowledge your source.
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8 The Wise Men
still being developed -- come back soon |
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The text, stage directions and notes were prepared by Dr Barry Fox (Acadia University, Nova Scotia and Dr Janet Hill (Saint Mary's University, Nova Scotia). If you use any of this material, please acknowledge your source.
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9 Herod the Great
Herod the Great
Speaking Characters: Action: (The fluid stage means that these are not separate scenes)
From
the platea, a messenger gives orders to the crowd, treating them as if
they were Herod’s subjects. Sent by Herod, a messenger finds soldiers talking in the countryside. The soldiers go to see Herod. Having received orders from Herod, they leave the court and conduct the massacre of young children. They return to Herod’s court with their news and Herod addresses the crowd, telling them to behave before he walks off stage, irritated at his effort to be helpful to them.
HEROD'S MESSENGER: (To the playgoers, assuming them to be Herod's subjects)[1] May the mighty Mohammed[2] make you all merry Whether you’re from borough or town, moor or mountain If you’re a king with a crown or well-bred barons. Stop your noise right now, And you’ll be protected from troubles and harm. 5
(Frustrated and threatening) Listen very carefully To the instructions I shout out. (Moves down into the crowd, eying individuals) If you don’t, troubles and nasty things Will happen. D’you hear? He proclaims from an official scroll “Herod, by the grace of Mohammed, Crowned high king of Israel, Surpassing everyone living, in town or castle, Greets you politely, commands you to be bound
By
his orders.” Love him loyally. 15 Revere that strong man! He insists you get ready To kneel before him whenever he wants you to. 18
If ever you complain about him— Knight, squire or just ordinary man-- You’ll soon learn what sorrow means. It doesn't matter How fierce you are, you’ll pay For what you say Twelve thousand times more than I can describe. You can be sure.
He is wonderfully worthy. Yet, At the same time, Seriously sad: Some nasty kid born near here Has deeply disturbed him.
They call this kid "king"—can you imagine? Ask yourselves, How could such a thing happen? 29 That’s why I've been told to proclaim everywhere
(Eying individual members of the playgoers) That you spread No more lies from now on. Don’t mention any monarch Except Herod, our lord. Or you’d better Rush home and hide your heads. 36
Herod is king of all kings, I know that for sure. He is lord of lords; mightiest of rulers.[3] The men at his beck and call are themselves bold boasters, Great dukes fall on their faces before him And revere him, with awe.
Tuscany and Turkey All India and Italy Sicily and Syria
From
Paradise to Padua, to Monte Fiascone From Normandy and Norway All bow before his crown. No one can ever match his fame Between Heaven and Hell. The only one who comes close Is his cousin Mohammed.
He is the noblest of all men ever born; nobles are his slaves— He’s wounded them all. Just as soon as a man causes a disturbance, Herod attacks him, full of scorn; We must all obey Herod or else you’ll be lost[6]
Dump yourselves down on your knees When you see him. If you don’t, he’ll break your bones. 63
Here he comes, the lord I spoke about. I’ll hurry to him fast, quick as I can, And welcome him with honour, with glee, For indeed, very worthy, is he. I will kneel Lowly out of respect for him. (Exaggerated gestures here showing the playgoers how to bow--To the playgoers) Drop down Before the most royal of men. (To Herod who enters at this moment) Hail, most honourable man in the world To you I must bow. [7] 72 Hail beloved lord! I read out your letters (holding up the scroll) I did what I could – I asked them to settle. And a lot more too. I made it very clear. But they (at the playgoers) keep yelling out Rumour after rumour to each other. They carp on about some king And won’t stop jabbering nonsense. 79
HEROD[8] I’ll rein in their rattle And let them go hang themselves. (To the playgoers going down among them from time to time) Shut up you wretches, yes all of you. You'd better listen to me till I leave.[9] Because once I start, I’ll break every bone in your bodies, I'll cut the skin off your carcasses. Right here and now. Oh yes I will. So stop that imagining.[10] If you make trouble for our royal self I’ll tear you apart. I don’t care how tough you are. 90 Young and old, shut up when I tell you to. I control your lives -- and deaths. (Turns to somebody talking among the playgoers.) I’ll bash the brains out of the head Of anyone brazen enough to keep on talking. Nobody speak till I’ve said what will happen. You haven’t a clue about the trouble I can cause.
(To the young children in the playgoers) Don’t move unless I tell you to. If you do, I’ll dice you up on the spot Ready for the pot [11] 99
My joy's turned to grief; my meekness to anger. My insides are burning. Just because of a boy. Let me catch a glimpse of him, I’ll give him his due. If I don’t do what I intend just call me fool. As sure as I’m king,
(Does he weep here, out of self pity, looking for playgoers’ support?) If I had that lad in my clutches I’d break every one of the bones with this steel sword .(pulls it out) 106
My name blossoms throughout the world. They call me the noblest man That ever fought with a spear, a lord, a royal king.
(Again eying individuals in the playgoers. Is he pretending to weep to get playgoer sympathy) What joy can I feel To hear of a lad who will take my throne? If I'm to able to wear this crown, That boy will pay for my trouble.
I’m angry. I don’t know what the devil’s got into me. They trouble me so with these rumours That by the holy nails that pierced God’s hands[12] I’ll hold my peace no longer.[13]
He gets visibly angrier and angrier, bashing whatever he is holding violently onto the ground[14] What the devil’s happening! I think I’ll burst with anger and grief.
Calmly, on a new topic) I think those kings who just visited me Have gone past.[15]
HurtYet they promised me, sincerely, They would call in on their way back. If only I'd known, I’d have used a different trick. 122
They said they were looking for a boy And had gifts for him. I’m looking for that little boy But I’d be glad to break his neck. 127
By Mohammed in heaven, if they've passed me by I’ll set the whole world at sixes and sevens.[16]
(To individuals playgoers) D' you think a king like me will allow them to appoint Anyone with all a king's power, unless it’s me!
No chance. The devil can hang Me and cut out my guts If I meet the rascal and don't whack him so hard He dies of the blow. 135
I’m in great danger. I need to know if they have left.
(To the playgoers) If someone told you about them here, quick, Let me know. If they were that bad mannered, By God who sits on his throne, Words can’t describe the pains They’ll suffer, each one of them, Because of my anger. 140 No one has heard of those pains. Fearsome and cruel they are. Lucifer in hell Will tear apart their bones.
(Three soldiers sidle in, terrified[17]) SOLDIER 1 Lord, don’t think ill of me if I tell you they’ve gone by. 145 I won’t keep anything from you, honestly. They found another way home
HEROD Hurt What! They’ve passed me by?
Raging
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1 The original manuscript has no stage directions other than two Latin notes, one announcing the beginning and one the end of "Herod the Great." This is another example of a character who enters specifically to silence the playgoers waiting for the episode to begin. There would have been no curtains and no lights to go down. [2] Historical accuracy was not important to playwright or playgoers. Mohammad was thought of as someone very evil and therefore associated with another evil, anti-Christian character, Herod. [4] This is deliberate bathos. The original “Kemp Towne,” is apparently somewhere local. Try substituting the name of a little village near where you live. [5] Is he showing his superiority by implying that he knows of two places with the same name?
[6] This move from “we” to “ye” is in the original. Does he unite himself with the crowd in “we” and then, comically, exclude himself from those in greatest danger?
[7] This is sound stage-management, to get the playgoers worked up in anticipation of the appearance of one of the most popular characters in medieval drama.
[9] Herod is a bit like Hitler, both dangerous and comical. He is a funny little man and his ranting is comic but he is unpredictable and perpetrates the most dreadful atrocities. On stage we can imagine relief show on the faces of those whom he has finished ranting at or talking to as he moves on to talk to others who show increasing concern. [12] This anachronism unites time present with time past. [13] All this is ironic. He hasn’t held his peace at all. For him he’s being peaceful, for the playgoers he’s been very boisterous. [14] Herod was well-know for acting violently on stage. Civic records show guild members in England might pay a lot to have Herod’s stage props repaired. [15] This is a reference to the three wise men who called on Herod trying to find Jesus but who are told not to return to Herod on their way back home.
[16] This sounds a little like Macbeth bargaining with the witches, offering to allow the good in the world to be overthrown.
[17] On the medieval stage these three soldiers would have been understood as representing a group of soldiers. If this is put in on a modern production a group of soldiers could step forward, only three of whom speak. They seem not to have heard Herod’s ranting; they try to speak reasonably to him. [18] The angry Herod was one of the most popular of the Corpus Christi characters. Financial records of the time show that he was so violent on stage and in the streets that he often broke the props he was supplied with. They and the stage had to be repaired. Some of the props had to be replaced.
[19] Note the comic effect of soldiers with a matter-of-fact attitude talking to an extravagantly excited Herod.
[20] The original has Herod speaking a corruption of a French phrase. He was trying to impress with his knowledge of French but got it wrong. His pretensions are shown up here. This is just a nonsense sounding like French and Latin, meaning nothing.
[21] Is this a royal “we” or does Herod incorporate the crowd into his actions? [22] "Devil" is in the original. Since we don’t have the original punctuation, this could be “Fie devil,” to the soldier or “Fie! Devil! (He’s just cursing aimlessly) [23] The attitude to his servant, his refusal to flee, and his insistence on being king are all similar to Macbeth’s, as Macduff and Malcolm invade from England.
[24] The soldiers provide different ways of seeing the situation in the best light.
[26] His sudden extreme change of mind for such shallow reasons is comic. [28] They could be standing in the background from the start, remaining on the stage, reading their books, backs to the playgoers throughout the play.
[29] Herod wants light reading, nothing moral. His pompous delight in his knowledge and his references to categories of literature are similar to Polonius’s.
[31] Taking a drink, and later, pausing to pant, in the middle of his ranting is part of the comic bluster.
[32] I think he sounds like Nigel Hawthorne in Yes Minister. Calm and deliberate with no emotional involvement and totally in charge. [35] When he speaks French from time to time to add dignity to his statements , it is always comically bad.
[36] Again these soldiers who will do such evil deeds are presented comically. Although only three speak, a modern production could well have dozens of soldiers.
[37] Macbeth has the same problem, hence tries to kill Banquo and Fleance. [38] Comic literal-mindedness.
39] The soldiers treat killing as a game, hence the translations of “at the front” as frontsies. Modern directors may prefer another, similar term. [40] These are babies he’s talking about fighting. [41] “Well” is in the original [42] In a modern production the counsellors could have their heads in their books and their backs to the massacre. [43][43] This is clearly comic understatement. [44] Again only three women speak. A modern production would need many more, all suffering as other soldiers kill their children. An effective representation of the blood is to use red silk scarves which at the end cover the stage. The soldiers could pick them up and wrap them around them before reporting back to Herod, and Herod could be seen stepping through the red scarves as he receives the soldiers and speaks to the crowd.
[45] The pathetic response of a mother who can't comprehend the thorough villainy of political action. [48] These women have no adequate response to the fatal violence of the soldiers. [49] This scene is similar to the scene in Macbeth where Lady Macduff and her children are murdered. [50] Sounds to me like a parody of the angel visiting Mary [51] Notice how he builds up tension and then give the facts. [52] He describing it as if he's fighting an army rather than individual women. [54] Herod steps over the stage, though the red silk of the blood while the soldiers (not just the three leaders) are wrapping the scarves around themselves. [55] The employer who keeps promising but never comes up with the goods is clearly not new. [56] They would have to take 240 000 pennies to make one thousand pounds. He’s being tight fisted again. [57] Pennies were made of silver so I don’t know what he’s referring to, unless it’s irony. [58] This scene of hailing Herod is a parody of the scene in the shepherds play of this cycle where the shepherds greet the baby Jesus. [59] That is, to Hell. Is this part of the address to the players that the soldiers have been part of? Evidently in a dictatorship no body trusts anybody. [60] The good king as presented in Macbeth [61] Again he’s full of promises, this time to all his citizen subjects in the audience--but doesn’t fulfill them. [62] His promises of gifts are hollow as he reminds them that they have to come to him and only when he is around next. [63] He might have problems counting. [64] The original phrase is “on a flat.” This might mean “in a field.” If so Herod is boasting that he’s got the world record for murders, and one that will never be broken. It is possible that “on a flat” means “on a flat space” and refers to the platea from which he is declaiming. If this is so it’s a bit of self-advertising, reminding people to come next year because the murders do take place again, take place every year, in fact. [65] His advice to his subjects is, of course, ironic. [66] A nice use of political euphemism [67] He's trying to establish that he's cultured. The original says: “I know no more French.” The notion of French as the language of a refined court and of diplomacy would be lost on a modern playgoers. Hence my change. [68] The original has “I know no more French’ . I take French to refer to the language of civilized rulers. He can’t put on the pose of being civilized any longer. The strain of appearing civilized for so long has been too much.
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The text, stage directions and notes were prepared by Dr Barry Fox (Acadia University, Nova Scotia and Dr Janet Hill (Saint Mary's University, Nova Scotia). If you use any of this material, please acknowledge your source.
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10 The First of the Shepherds' Episodes from Wakefield
still being developed -- come back soon |
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The text, stage directions and notes were prepared by Dr Barry Fox (Acadia University, Nova Scotia and Dr Janet Hill (Saint Mary's University, Nova Scotia). If you use any of this material, please acknowledge your source.
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11 The Second of the Shepherds' Episodes from the
Wakefield Cycle
still being developed -- come back soon |
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The text, stage directions and notes were prepared by Dr Barry Fox (Acadia University, Nova Scotia and Dr Janet Hill (Saint Mary's University, Nova Scotia). If you use any of this material, please acknowledge your source.
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12 The Shepherds Episode from Chester
still being developed -- come back soon |
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The text, stage directions and notes were prepared by Dr Barry Fox (Acadia University, Nova Scotia and Dr Janet Hill (Saint Mary's University, Nova Scotia). If you use any of this material, please acknowledge your source.
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13The Woman Taken in Adultery
still being developed -- come back soon |
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The text, stage directions and notes were prepared by Dr Barry Fox (Acadia University, Nova Scotia and Dr Janet Hill (Saint Mary's University, Nova Scotia). If you use any of this material, please acknowledge your source.
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14 Pilot and Procula
still being developed -- come back soon |
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The text, stage directions and notes were prepared by Dr Barry Fox (Acadia University, Nova Scotia and Dr Janet Hill (Saint Mary's University, Nova Scotia). If you use any of this material, please acknowledge your source.
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15The Buffeting of Jesus
still being developed -- come back soon |
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The text, stage directions and notes were prepared by Dr Barry Fox (Acadia University, Nova Scotia and Dr Janet Hill (Saint Mary's University, Nova Scotia). If you use any of this material, please acknowledge your source.
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16 The Crucifixion
still being developed -- come back soon |
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The text, stage directions and notes were prepared by Dr Barry Fox (Acadia University, Nova Scotia and Dr Janet Hill (Saint Mary's University, Nova Scotia). If you use any of this material, please acknowledge your source.
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17 The Harrowing of Hell
still being developed -- come back soon |
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The text, stage directions and notes were prepared by Dr Barry Fox (Acadia University, Nova Scotia and Dr Janet Hill (Saint Mary's University, Nova Scotia). If you use any of this material, please acknowledge your source.
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18 Judgement Day
still being developed -- come back soon |
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The text, stage directions and notes were prepared by Dr Barry Fox (Acadia University, Nova Scotia and Dr Janet Hill (Saint Mary's University, Nova Scotia). If you use any of this material, please acknowledge your source.
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