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The Chester Plays complete the publi- Sex old women Planellet of the different series of such productions in the English language hitherto generally known.

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It is perhaps desirable that the few single plays of a simUar cha- racter that are found scattered iu different parts should be coUected together in a volume, to form a companion to the others. I think it probable also that other sets exist : one, said to be the oldest yet known, was brought to light at the Strawberry HiU sale, and it is sincerely to be hoped that it will be published. They were acted in the course of the church service on particular festivals, and the people of the neighbourhood, as well as the monks, appear to have been spectators.

The earliest examples of such compo- sitions now known are three plays written in France by Hilarius, an Englishman, and disciple of the famous Abelard, the subjects of Sex old women Planellet are the nusing of La- zarus, a miracle of St. Nicholas, and the history of I Daniel : they were written early in the twelfth cen- ' tury. Nicholas, and of six similar plays founded on incidents of the New Tratament — the Three Kings, the Slaughter of the In- nocents, the Resurrection, the Appearance of Christ to the two disciples on the way to Emmaus, the Conversion of St.

Cham- pollion-Figeac. Til zarns. A few other Latin plays of the same description, and probably of nearly the same date, still exist ; and, from the allusions to them in the old ecclesiastical writings, it appears that they were very popular during the twelfth and thirteenth centuries. The general term for these performances in Latin was ludus ; the French plays of a similar caste were called geus, otjeuo! In the earlier ages, the most common subjects of such re- presentations were the miracles said to have been per- formed by the popish saints, particularly those of St.

Nicholas, and these were characterized as miracula, mi- racks, or miracle plays.

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On the contrary, those which were founded on Scripture subjects, and which were in- tended to set forth the mysteries of the Christian reve- lation, were distinguished by the title of mysteria, or mysteries. In France, the distinction between miracles and mysteries was carefully preserved to the latest times.

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Lon- don, Some further information on the Latin mysteries will be found in the introduction to this volume. Perhaps this arose from the eircom- staDce of the miracles of saints having been long the most popular Sex old women Planellet. It may be observed here, that I we must not confound the popular rdigious per- j formancea with certain ludi playg or gamesof which we have no very distinctwhich were at times performed with greater or less poinp in the courts of princes and powerful barons.

Miracle plays and mysteries were composed and per- formed in French at least as early as the thirteenth century, of which period, besides several dramatic mi- racles and one or two dramatic pieces of another kind, we have a fragment of a mystery of the Resurrectioii, first published by M. Monmerque and Michel. It is not probable that any such pieces were performed or composed in English before the four- teenth centuiy. In the reign of Edward About the middle of the same century, miracles are mentioned in Piers Ploughman as being then of frequent occnrrenee: and in Chaucer, and other writers of the end of the cen- tury, they are spoken of more frequently.

IX observed that the early Latm religious plays were per- formed by the monks ; the performers continued to be clerks or persons attached to the charch up to a late period, as appears from the poem just quoted. He plaieth Herode on a skaffold hie.

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The early religious plays, in their simpler form, were played in the churches, and the scene was laid in diffe- rent parts of the building. This appears from the stage- directions to some of the Latin mysteries. It is difficult to Sex old women Planellet at what time they began first to be acted on stages; bat in a story taken from a manuscript of the fourteenth, hut probably composed in the thirteenth century, we find an incident which seems to show that the practice of performing these plays on stages in the open air was then common, and that they were attended by crowds of people.

Admirantes igitar quare in loco tali tanta esset hominum adunatio, Eestimabant ibi spectacnla celebrare qoie noa miracula appel- lare consnevimuE. Latin Stories, p. The extracts from old parish and town registers relating to these plays, given in Sharp's Dissertation on ants, show ns what care was taken to give to such perform- ances as much " stage effect " as possible. I have some- where read of charges for coals to keep up hell fire ; and that on one occasion hell itself took fire and was nearly burnt down.

Among Mr. Pur plua aver devociun.

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Quant Tenent les fols volonters. Nofol, HI. Among the followers of Wycliife at the end of the fourteenth centnry, the cries against these performances were much louder. They were again con- demned by the puritans of the sixteenth century, not only as idle diTersions, but as relics of popish super- stition ; yet, in spite of all attempts to put them down, they continued in practice till the beginning of the aeTenteenth century.

The excuses made in the " banes " of the Cheater Plays for their popish character are snflS- ciently amusing. The original object of these performances was of conrse to impress the knowledge of certain parts of ec- clesiastical and scriptural history on the minds of the more ignorant portion of the laity. On the day of a par- ticular saint, as for instance St.

When these compositions I were written in Latin, a language which the greater ; portion at least of the spectators did not understand, it was sufficient to give a few sentences of simple dialogue, and the effect was produced by the acting.

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But when the religious plays were written in the language of the populace, more art was employed in the construction and embellishment of the piece, and droll characters and ridiculous speeches were introduced in order to produce mirth. Xlll thrown into a 6t of laughter nunc silentes nunc cachi- nantes ; and in most of the earlier French miracle plays we find scenes that are well calculated to excite mirth.

In the early Jen de S. Nicolas of Jean Bodel, this effect is produced by the vulgar conversation of a party of gamblers in a tavern. In some of the miracle plays it is peasants or messengers, in others the executioners or tormentoursand in many it is the devils, who create langhter Sex old women Planellet their coarseness or their drollery. In the regular series of Scripture mysteries these scenes occur frequently, and most of them will be found indicated in the notes to the present volume. Here also the devils are often grotesqae characters; bnt the laughable scenes are more frequently disputes between Cain and his man, or between Noah and his wife, the rustic acts and sayings of the shepherds, or the expedition of Herod's knights to slaughter the defenceless innocents.

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As far as we can judge by comparison of different pieces stUl extant on the same subject, we are led to believe that in general they were composed independ- ently, and that one was seldom an imitation of another. They appear in most cases to have been written for Sex old women Planellet use, and not to have been carried abroad from the neighbourhood in which they were usually acted.

In the notes to the present rolnmes I have shown sereral instances of similarity between these Chester plays and some of the printed French Mysteries of the earlier half of the sixteenth centnry, which I suspect to be only reproductions of or alterations from older French compositions of the same description. Collier had ly pointed out one or two remarkable co- incidences in passages taken from the Chester and Frmich Mysteries, in his History of Dramatic Poetry vol. The first instance is the speech of Adam p. I see well, Lotdie, throngh thy Hoc nunc os de osailnu meis, grace, Bone of mj bones thon ber niase, Et caro de cane mea.

XT And fleshe of my Seohe'ehee bage, Sea os soot de mee ob formez. Therfore shee shcJbe called i- Cartontd'uneangsontconfonnez, Virragoo nothinge amisee ; For out of maa tacken shee is. And to man she shall drawe.

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