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FROM MINIATURES BY JEHAN DE GRISE (t 1344) IN

BODLEIAN MS. 264 (Li romcins (TAlixcwdre)

THE MEDIAEVAL STAGE
B Y E. K. CHAMBERS. VOL. I

OXFORD UNIVERSITY PRESS
M.CMl'll

Impression of 1923
First Edition igo)

This impression lias been prbluctd photographically by the
MUSTON COMPANY, from sheets of the first Edition

Printed wholly in England for the MUSTON COMPANY

By LOWE & BRYDONE, PRINTERS, LTD.
PARK STREET, CAM DEN TOWN, LONDON, N.W. *

TO N. C.

PREFACE

SOME years ago I was thinking of a little book, which now
may or may not ever get itself finished, about Shakespeare
and the conditions, literary and dramatic, under which Shake-
speare wrote. My proper task would have begun with the
middle of the sixteenth century. But it seemed natural to
put first some short account of the origins of play-acting in
England and of its development during the Middle Ages.
Unfortunately it soon became apparent that the basis for
such a narrative was wanting. The history of the mediaeval
theatre had never, from an English point of view, been
written. The initial chapter of Collier's Annals of the Stage
is even less adequate than is usual with this slovenly and
dishonest antiquary. It is with some satisfaction that, in
spite of the barrier set up by an incorrect reference, I have
resolved one dramatic representation elaborately described
by Collier into a soteltie or sweetmeat. More scholarly
writers, such as Dr. A. W. Ward, while dealing excellently
with the mediaeval drama as literature, have shown themselves
but little curious about the social and economic facts upon
which the mediaeval drama rested. Yet from a study of such
facts, I am sure, any literary history, which does not confine
itself solely to the analysis of genius, must make a start.

An attempt of my own to fill the gap has grown into these
two volumes, which have, I fear, been unduly swelled by the
inclusion of new interests as, from time to time, they took
hold upon me ; an interest, for example, in the light-hearted
and coloured life of those poverelli of letters, the minstrel
folk ; a very deep interest in the track across the ages of
certain customs and symbols of rural gaiety which bear with
them the inheritance of a remote and ancestral heathenism.
I can only hope that this disproportionate treatment of parts
has not wholly destroyed the unity of purpose at which, after
all, I aimed. If I may venture to define for myself the
formula of my work, I would say that it endeavours to state

vi PREFACE

and explain the pre-existing conditions which, by the latter
half of the sixteenth century, made the great Shakespearean
stage possible. The story is one of a sudden dissolution and
a slow upbuilding. I have arranged the material in four Books.
The First Book shows how the organization of the Graeco-
Roman theatre broke down before the onslaught of Christianity
and the indifference of barbarism, and how the actors became
wandering minstrels, merging with the gleemen of their
Teutonic conquerors, entertaining all classes of mediaeval
society with spectacula in which the dramatic element was of
the slightest, and in the end, after long endurance, coming to
a practical compromise with the hostility of the Church. In
the Second Book I pass to spectacula of another type, which
also had to struggle against ecclesiastical disfavour, and
which also made their ultimate peace with all but the most
austere forms of the dominant religion. These are the ludi
of the village feasts, bearing witness, not only to their origin
in heathen ritual, but also, by their constant tendency to break
out into primitive forms of drama, to the deep-rooted mhnetic
instinct of the folk. The Third Book is a study of the process
by which the Church itself, through the introduction of
dramatic elements into its liturgy, came to make its own
appeal to this same mimetic instinct ; and of that by which,
from such beginnings, grew up the great popular religious
drama of the miracle-plays, with its offshoots in the moralities
and the dramatic pageants. The Fourth and final Book deals
summarily with the transformation of the mediaeval stage, on
the literary side under the influence of humanism, on the
social and economic side by the emergence from amongst
the ruins of minstrelsy of a new class of professional players,
in whose hands the theatre was destined to recover a stable
organization upon lines which had been departed from since
the days of Tertullian.

I am very conscious of the manifold imperfections of these
volumes. They are the work, not of a professed student, but
of one who only plays at scholarship in the rare intervals of a
busy administrative life. They owe much to the long-suffering
officials of the British Museum and the London Library, and
more recently to the aid and encouragement of the Delegates

PREFACE vii

of the Clarendon Press and their accomplished staff. The
literary side of the mediaeval drama, about which much
remains to be said, I have almost wholly neglected. I shall
not, I hope, be accused of attaching too much importance in
the first volume to the vague and uncertain results of folk-lore
research. One cannot be always giving expression to the
minuter shades of probability. But in any investigation
the validity of the inferences must be relative to the nature
of the subject-matter ; and, whether I qualify it in words or
not, I do not, of course, make a statement about the intention,
say, of primitive sacrifice, with the same confidence which
attaches to one about matters of historic record. The burden
of my notes and appendices sometimes appears to me
intolerable. My excuse is that I wanted to collect, once for
all, as many facts with as precise references as possible.
These may, perhaps, have a value independent of any con-
clusions which I have founded upon them. And even now
I do not suppose that I have been either exhaustive or accurate.
The remorseless ideal of the historian's duties laid down in the
Introduction aux tudes Historiques of MM. Langlois and
Seignobos floats before me like an accusing spirit. I know
how very far I am from having reached that austere standard
of scientific completeness. To begin with, I had not the
necessary training. Oxford, my most kindly nurse, maintained
in my day no cole des Chartes, and I had to discover the
rules of method as I went along. But the greater difficulty has
been the want of leisure and the spacious life. Shades of Duke
Humphrey's library, how often, as I jostled for my turn at the
crowded catalogue-shelves of the British Museum, have I not
envied those whose lot it is to tread your ample corridors and
to bend over your yellowing folios! Amongst such happy
scholars, the canons of Clio may claim implicit obedience.
A silent company, they 'class' their documents and 'try'
their sources from morn to eve, disturbed in the pleasant ways
of research only by the green flicker of leaves in the Exeter
garden, or by the statutory inconvenience of a terminal lec-
ture.

* Tanagra ! think not I forget ! '

E. K. C
LONDON, May, 1903.

CONTENTS

VOLUME I

PAGE

PREFACE v

LIST OF AUTHORITIES xiii

BOOK I. MINSTRELSY

CHAP.

I. THE FALL OF THE THEATRES i

II. MIMUS AND Scdp ........ 23

III. THE MINSTREL LIFE 42

IV. THE MINSTREL REPERTORY 70

BOOK II. FOLK DRAMA

V. THE RELIGION OF THE FOLK . . . ... 89

VI. VILLAGE FESTIVALS 116

VII. FESTIVAL PLAY 146

VIII. THE MAY-GAME 160

IX. THE SWORD-DANCE 182

X. THE MUMMERS' PLAY 205

XL THE BEGINNING OF WINTER 228

XII. NEW YEAR CUSTOMS 249

XIII. THE FEAST OF FOOLS 274

XIV. THE FEAST OF FOOLS (continued) . . . -301
XV. THE BOY BISHOP 33 6

XVI. GUILD FOOLS AND COURT FOOLS 372

XVII. MASKS AND MISRULE 390

VOLUME II

BOOK III. RELIGIOUS DRAMA

XVIIL LITURGICAL PLAYS i

XIX. LITURGICAL PLAYS (continued) 41

XX. THE SECULARIZATION OF THE PLAYS .... 68

XXI. GUILD PLAYS AND PARISH PLAYS . . . .106

XXII. GUILD PLAYS AND PARISH PLAYS (continued) . .124

XXIII. MORAUTIE?, PUPPET-PLAYS, AND PAGEANTS . . 149

CONTENTS

BOOK IV. THE INTERLUDE

CHAP. PAGE

XXIV. PLATERS OF INTERLUDES 179

XXV. HUMANISM AND MKDIAEVALISM 199

APPENDICES

A. THE TRIBUNUS VOLUPTATUM 229

B. TOTA loCULATORUM SCENA . . . . . .230

C. COURT MINSTRELSY IN 1306 234

D. THE MINSTREL HIERARCHY 238

E. EXTRACTS FROM ACCOUNT BOOKS 240

I. Durham Priory 240

II. Maxstoke Priory 244

III. Thetford Priory 245

IV. Winchester College 246

V. Magdalen College, Oxford 248

VI. Shrewsbury Corporation . . . . .250

VII. The Howards of Stoke-by-Nayland, Essex . . 255

VIH. The English Court 256

F. MINSTREL GUILDS 258

G. THOMAS DE CABHAM 262

H. PRINCELY PLEASURES AT KENILWORTH . . . .263

I. A Squire Minstrel 263

IL The Coventry Hock-Tuesday Show . . . 264

I. THE INDIAN VILLAGE FEAST 266

J. SWORD-DANCES 270

I. Sweden (sixteenth century). . . . .270

II. Shetland (eighteenth century) . . . .271

K. THE LUTTERWORTH ST. GEORGE PLAY .... 276

L. THE PROSE OF THE Ass 279

M. THE BOY BISHOP 282

I. The Sarum Office ...... 282

H. The York Computes 287

N. WINTER PROHIBITIONS . . . . . . .290

O. THE REGULARIS CONCORDIA OF ST. ETHELWOLD . . 306

P. THE DURHAM SEPULCHRUM 320

Q. THE SARUM SEPULCHRUM . 312

R. THE DUBLIN QUEM QUAERITIS 3x5

CONTENTS xi

APT. PACE

S. THE AUREA MBSA OF TOURNAI 318

T. SUBJECTS or THE CYCLICAL MIRACLES . . . .321

U. INTERLUDIUM DE CLERICO ET PUELLA '. 324

V. TERENTIUS ET DELUSOR 326

W. REPRESENTATIONS OF MEDIAEVAL PLAYS .... 329

X. TEXTS OF MEDIAEVAL PLAYS AND INTERLUDES . . . 407

I. Miracle-Plays 407

II. Popular Moralities 436

III. Tudor Makers of Interludes 443

IV. List of Early Tudor Interludes . . . . 453

SUBJECT INDEX 462

LIST OF AUTHORITIES

[General Bibliographical Note. I mention here only a few works of
wide range, which may be taken as authorities throughout these two
volumes. Others, more limited in their scope, are named in the
preliminary notes to the sections of the book on whose subject-matter
they bear. An admirable general history of the modern drama is
W. Creizenach's still incomplete Geschichte des neueren Dramas (Band i,
Mittelalter und FrUhrenai 'stance, 1893; Bande ii, iii, Renaissance und
Reformation, 1901-3), R. Prdlss, Geschichte des neueren Dramas
(1881-3), is slighter. The earlier work of J. L. Klein, Geschichte des
Dramas (13 vols. 1865-76), is diffuse, inconvenient, and now partly
obsolete. A valuable study is expected from J. M. Manly in vol. iii
of his Specimens of the P re- Shakespearean Drama, of which two
volumes, containing selected texts, appeared in 1897. C. Hastings,
Le Thtdtre frangais et anglais (1900, Eng. trans. 1901), is a
compilation of little merit. Prof. Creizenach may be supplemented
for Germany by R. Froning, Das Drama des Mittelalters (1891). For
France there are the exhaustive and excellent volumes of L. Petit de
Julleville's Histoire du Thtdtre en France au Moyen Age (Les Mysteres,
1880; Les Come'diens en France au Moyen Age, 1885; La Come'die et
les Mceurs en France au Moyen Age, 1886; Repertoire du Thtdtre
comique au Moyen Age, 1886). G. Bapst, Essai sur T Histoire du
Thtdtre (1893), adds some useful material on the history of the stage.
For Italy A. d' Ancona, Origini del Teatro italiano (and ed., 1891), is
also excellent. The best English book is A. W. Ward's History of
English Dramatic Literature to the death of Queen Anne (and ed.,
1899). J. P. Collier, History of English Dramatic Poetry (new ed.,
1879), is full of matter, but, for various reasons, not wholly trust-
worthy. J. J. Jusserand, Le The'dtre en Angleterre (and ed., 1881),
J. A. Symonds, Shakespeare's Predecessors in the English Drama
(1884), and G. M. Gayley, Representative English Comedies (i93)
are of value. Texts will be found in Manly's and Gayley's books,
and in A. W. Pollard, English Miracle Plays, Moralities and
Interludes (3rd ed., 1898); W. C. Hazlitt, Dodsley's Old Plays
(15 vols. 1874-6); A. Brandl, Quellen des weltlichen Dramas in
England (1898). F. H. Stoddard, References for Students of Miracle
Plays anZ Mysteries (1887), and K. L. Bates and L. B. Godfrey,
English Drama; a Working Basis (1896), are rough attempts at

xtv LIST OF AUTHORITIES

bibliographies. In addition the drama of course finds treatment in
the general histories of literature. The best are: for Germany,
R. KSgel, Geschichte der deutschen Liter atur bis sum Ausgange des
MitUlalters (1894-7, a fragment); K. Gttdeke, Grundriss zur
Geschichte der deutschen Dichtung aus den Quellen (and ed., 1884-
1900); W. Scherer, Geschichte der deutschen Litteratur (8th ed.,
1899): for France, L. Petit de Julleville (editor), Histoire de la
Langue et de la Literature franfaises (1896-1900); G. Paris, La
Littfrature franfaise au Moyen Age (2nd ed., 1890): for Italy,
A. Gaspary, Geschichte der italienischen Litteratur (1884-9, Eng.
transl. 1901): for England, T. Warton, History of English Poetry
(ed. W. C. Hazlitt, 1871); B. Ten Brink, History of English
Literature (Eng. trans. 1893-6); J. J. Jusserand, Literary History
of the English People (vol. i. 1895); W. J. Courthope, History of
English Poetry (vols. i, ii. 1895-7); G. Saintsbury, Short History of
English Literature (1898), and, especially for bibliography, G.K6rting,
Grundriss der Geschichte der englischen Litteratur (3rd ed., 1899).
The Periods of European Literature, edited by Prof. Saintsbury,
especially G. Gregory Smith, The Transition Period (1900), and the
two great Grundrisse, H. Paul, Grundriss der germanischen Philologie
(and ed., 1896-1903), and G. Grttber, Grundriss der romanischen
Philologie (1888-1903), should also be consulted. The beginnings
of the mediaeval drama are closely bound up with liturgy, and the
nature of the liturgical books referred to is explained by W. Maskell,
A Dissertation upon the Ancient Service-Books of the Church of
England (in Monumenta Ritualia Eccksiae Anglicanae, 2nd ed., 1882,
vol. iii) ; H. B. Swete, Church Services and Service-Books before the
Reformation (1896); Procter-Frere, New History of the Book of
Common Prayer (1901). The beginnings of Catholic ritual are
studied by L. Duchesne, Qrigines du Culte chrttien (3rd ed., 1902,
Eng. trans. 1903), and its mediaeval forms described by D. Rock,
The Church of our Fathers (1849-53), ***& J. D. Chambers, Divine
Worship in England in the Thirteenth and Fourteenth Centuries (1877).
The following list of books is mainly intended to elucidate the
references in the footnotes, and has no claim to bibliographical
completeness or accuracy. I have included the titles of a few German
and French dissertations of which I have not been able to make use.]

Aberdeen Records. Extracts from the Council Register of the Burgh of

Aberdeen. Edited by J. Stuart, a vols. 1844-8. \Spalding CM, xii, xix.]

Acta SS. Acta Sanctorum quotquot toto orbe coluntur, quas collegit

LIST OF AUTHORITIES xv

I. Bollandus. Opcram continuavit G. Henschenius [ct alii], 1734-1894.
[In progress.]

AHN. English Mysteries and Miracle Plays* By Dr. Ahn. Trier,
1867. [Not consulted.]

ALCUIN. See DUMMLER.

ALLARD. Julien I'Apostat Par P. Allard. 3 vols. 1900-3.

ALLEN. The Evolution of the Idea of God : an Enquiry into the
Origins of Religion. By Grant Allen, 1897.

ALT. Theater und Kirche in ihrem gegenseitigen Verhaltniss. Von
H. Alt, 1846.

Anal. Hymn. Analecta Hymnica Medii Aevi. Ediderunt C. Blume et
G. M. Dreves. 37 parts, 1886-1901. [In progress.]

ANCONA. Origin! del Teatro italiano. Per A. d'Ancona, 2nd ed.
2 vols. 1891.

ANCONA, Sacr. Rappr. Sacre Rappresentazioni dei secoli xiv, xv e xvi,
raccolte e illustrate per cura di A. d'Ancona, 1872.

Anglia. Anglia : Zeitschrift fur englische Philologie. 24 vols. 1878-
1903. [In progress.]

Ann. Arch. Annales Archlologiques, dingoes par Didron ame*. 28
vols. 1844-81.

Antiquarian Repertory. The Antiquarian Repertory : A Miscellaneous
assemblage of Topography, History, Biography, Customs and Manners.
Compiled by F. Grose and T. Astle. 2nd ed. 4 vols. 1807.

ARBOIS DE JUBAINVILLE, Civ. Celt. La Civilisation des Celtes et celle
de l'pope home*rique. Par H. d'Arbois de Jubainville, 1899. [VoL vi
of Cours de litterature celtique.]

ARBOIS DE JUBAINVILLE, Cycl. Myth. Le Cycle mythologique irlandais
et la Mythologie celtique. Par H. d'Arbois de Jubainville, 1884. [VoL ii
of same.]

Archacologia. Archaeologia : or Miscellaneous Tracts relating to
Antiquity. Published by the Society of Antiquaries of London. 57 vols.
1770-1901. [In progress.]

ARNOLD. The Customs of London, otherwise Arnold's Chronicle.
Edited by F. Douce, 1811.

ASHTON. A Righte Merrie Christmasse 1 ! ! By J. Ashton, n. d.

BAHLMANN, Ern. Die Erneuerer des antiken Dramas und ihre
ersten dramatischen Versuche: 1314-1478. Von P. Bahlmann, 1806.

BAHLMANN, L. D. Die lateinischen Dramen von Wimpbeling's
Stylpho bis zur Mittc des sechzehnten Jahrhunderts : 1480-1550. Von
P. Bahlmann, 1893.

BALE. Scriptorum illustrium maioris Britanniae, quam nunc Angliam
et Scotiam vocant, Catalogus. Autore loanne Baleo Sudouolgio Anglo.
2 vols. Basileae, Oporinus, 1557-9. [Enlarged from the edition in one
vol. of 1548.]

BALE, Index. Index Britanniae Scriptorum quos ex variis bibliothecis
non parvo labore collegit loannes Baleus. Edited by R. L. Poole and

xvi LIST OF AUTHORITIES

M. Bateson, 1902. \Anecdota Oxoniensia, Mediaeval and Modern
Series, ix, from a MS. compiled 1549-1557.]

BAPST. Essai sur 1'Histoire du Th^tre. Par G. Bapst, 1893.
BARBAZAN-MON. Fabliaux et Contes des Poetes frangois des xi, xii,
xiii, xiv et xv sifccles. Publics par E. Barbazan. Nouvelle Edition, par
M. Me*on. 4 vols. 1808.

BARRETT. Riding Skimmington and Riding the Stang. By C. R. B.
Barrett, 1895. [Journal of British Archaeological Association, N. S.
vol. i.]

BARTHLEMY. Rational ou Manuel des divins Offices de Guillaume
Durand, vque de Mende au treizi&me sfecle. Traduit par M. C.
Barthlemy. 5 vols. 1854.

BARTSCH. Altfranzosische Romanzen und Pastourellen. Par K.
Bartsch, 1870.

BATES. The English Religious Drama. By K. L. Bates, 1893.
BATES-GODFREY. English Drama: a Working Basis. By K. L.
Bates and L. B. Godfrey, 1896.

BEDE, Z>. T. /?. Venerabilis Bedae Opera quae Supersunt Omnia.
Edidit J. A. Giles. 12 vols. 1843-4. [The De Temporum Ratione forms
part of vol. vi.]

BEDE, E. H. See PLUMMER.

B&DIER. Les Fabliaux. 6tudes de Literature populaire et d'Histoire
litteraire du Moyen Age. Par J. B^dier, 2nd ed. 1895.

BELETHUS. Rationale Divinorum Officiorum Auctore Joanne Beletho
Theologo Parisiensi, 1855. [In P. L. ccii.]

BELL. Ancient Poems, Ballads, and Songs of the Peasantry of
England. Edited by R. Bell, 1857.

BRENGER-FRAUD. Superstitions et Survivances &udie*es au point
de vue de leur Origine et de leurs Transformations. Par L. J. B.
Be'renger-Fe'raud. 4 vols. 1896.

BERNHARD. Recherches sur THistoire de la Corporation des M&id-
triers ou Joueurs d' Instruments de la Ville de Paris. Par B. Bernhard.
[BibL de rcole des Charles, iii. 377, iv. 525, v. 254, 339.]

BERTRAND. Nos Origines : iv. La Religion des Gaulois ; Les Druides
et le Druidisme. Par A. Bertrand, 1897.

BibL des Chartes. Bibliothfcque de 1'Ecole des Chartes. Revue
d' Erudition consacre*e sp^cialement a I'&ude du Moyen Age. [I quote
the numbers of the annual volumes, without regard to the Series.]

BINGHAM. The Works of Joseph Bingham. Edited by R. Bingham.
New ed. 10 vols.

BLOMEFIELD. An Essay towards a Topographical History of the
County of Norfolk. By F. Blomefield. 2nd ed. II vols. 1805-10.

BOHCK. Die Anfange des englischen Dramas. Von Dr. Bohck, 1890.
[Not consulted.]

BOLTON. The Counting-Out Rhymes of Children. By M. C. Bolton,
1888.

LIST OF AUTHORITIES xvit

BORETIUS. Capitularia Regum Francorum. Ediderunt A. Boretius et
V. Krause. 2 vols. 1883-7. [M. G. H. Leges, Sectio il.j

BOURQUELOT. Office de la Fte des Fous. Public" par F. Bourquelot,
1858. [Bulletin de la Socie'tt archtologique de Sens, vol. vi. Not con-
sulted at first hand.]

BOWER. The Elevation and Procession of the Ceri at Gubbio. By
H. M. Bower, 1897. [F. L. S.}

BRAND. Observations on Popular Antiquities, chiefly illustrating the
Origin of our Vulgar Customs, Ceremonies, and Superstitions. By
J. Brand. Enlarged by Sir H. Ellis. 3 vols. 1841-2.

BRAND-HAZLITT. Observations on Popular Antiquities. By J. Brand.
Edited with additions by W. C. Hazlitt. 3 vols. 1870.

BRANDL. Quellen des weltlichen Dramas in England vor Shakespeare.
Ein Erganzungsband zu Dodsley's Old English Plays. Herausgegeben
von A. Brandl, 1898. [Quellen und Forschungen, Ixxx.]

BREWER. Letters and Papers, Foreign and Domestic, of the Reign of
Henry VIII. Arranged and catalogued by J. S. Brewer [and afterwards
J. Gairdner and R. H. Brodie]. 18 vols. 1862-1902. {Calendars of State
Papers^

BROOKE. The History of Early English Literature: being the History
of English Poetry to the Accession of King Alfred. By S. A. Brooke.
2 vols. 1892.

BROOKE, Eng. Lit. English Literature from the Beginning to the
Norman Conquest. By S. A. Brooke, 1898.

BROTANEK. Die englischen Maskenspiele. Von R. Brotanek, 1902.
[ Wiener Beitrage zur englischen Philologie, xv.]

BROWN. Calendar of State Papers and Manuscripts relating to English
Affairs, in the Archives and Collections of Venice and in other Libraries
of North Italy. Edited by H. F. Brown and R. Brown. 10 vols. 1864-
1900.

BRYLINGER. Comoediae et Tragoediae aliquot ex Novo et Vetere
Testamento desumptae. Basileae, Brylinger, 1540.

BURCHARDUS. Burchardi Wormaciencis Ecclesiae Episcopi Deere-
torum Libri xx, 1853. [In P. L. cxl.]

BURNE- JACKSON. Shropshire Folk-lore: A Sheaf of Gleanings.
Edited by C. S. Burne, from the collections of G. F. Jackson, 1883.

BURNET. A History of the Reformation of the Church of England.
By G. Burnet. Edited by N. Pocock, 7 vols. 1865.

BURTON. Rushbearing. By A. Burton, 1891.

BURY-GIBBON. See GIBBON.

CAMPBELL. Materials for a History of the Reign of Henry VII, from
documents in the Public Record Office. By W. Campbell. 2 vols. 1873-7.
[X. S. lx.]

CANEL. Recherches historiques sur les Fous des Rois de France.
Par A. Cane\ 1873.

Captain Cox. See LANEHAM.

CHAMBERS. I K

xviii LIST OF AUTHORITIES

Carmina Burana. See SCHMELLER.

CASPARI. Eine Augustin falschlich beilegte Homilia de Sacrilegiis.
Herausgegeben von C. P. Caspar!, 1886. \Gesellschaft der Wissen-
schaften su Christiania^\

CASSIODORUS. Cassiodori Senatoris Variae. Recensuit Theodorus
Mommsen, 1894. [M. G. H. Auctores Antiquissimi, vol. xii.]

Catholicon Anglicum. Catholicon Anglicum : an English-Latin Word-
book (1483). Edited by S. J. Herrtage, 1881. [C 5. N. S. xxx.]

CAVENDISH. The Life of Cardinal Wolsey. By J. Cavendish. Edited
by S. W. Singer. 2 vols. 1825.

CHAMBERS. Divine Worship in the Thirteenth and Fourteenth Cen-
turies, contrasted with the Nineteenth. By J. D. Chambers, 1877.

CHAMPOLLION-FIGEAC. See HILARIUS.

CHAPPELL. Old English Popular Music. By W. Chappell. A new
edition by H. E. Wooldridge. 2 vols. 1893.

C. H. 23. Corpus Scriptorum Historiae Byzantinae. Editio emendatior,
consilio B. G. Niebuhrii instituta, 1828-97.

CHREST. Nouvelles Recherches sur la Fte des Innocents et la F6te
des Fous. Par A. Ch^rest, 1853. [Bulletin de la SoriM des Sciences de
r Yonne, vol. vii.]

CHILD. The English and Scottish Popular Ballads. Edited by F. J.
Child. lo vols. 1882-98.

Christmas Prince. See HlGGS.

C.L C. Corpus luris Civilis. Editio altera, 1877-95. [Vol. i contains
the Institutions , ed. P. Krueger, and the Digesta, ed. Th. Mommsen ;
vol. ii the Codex lustiniani, ed. P. Krueger; vol. iii the Novellae
lustiniani, ed. Schoell and Kroll.]

C.L Can. Corpus luris Canonici. Editio Lipsiensis secunda: post
A. L. Richter curas . . . instruxit A. Friedberg. 2 vols. 1879-81. [Con-
tains the Decretum of Gratian (tii39), the Decretales of Gregory IX
(1234), the Liber Sextus of Boniface VIII (1298), the Decretales of Cle-
ment V and John XXII (1317), and the Extravagantes (down to 1484).]

Civis. Minutes, collected from the ancient Records and Accounts in
the Chamber of Canterbury. [By C. R. Bunce or W. Welfitt. These
documents, bound in B. M. under press-mark 10,358, h. i., appear to be
reprints or proof-sheets of articles, signed Ciins 9 in the Kentish Chronicle
for 1 80 1 -2.]

CLARKE. The Miracle Play in England, an account of the Early
Religious Drama. By S. W. Clarke, n. d.

CLDAT. Le Theatre en France au Moyen Age. Par L.Cl&Iat, 1896.
\Classiques Populaires.\

CLEMENT. Histoire gnrale de la Musique religieiise. Par F.
Clement, 1860.

CLMENT-HMERY. Histoire des Ftes civiles et religieuses du D6-
partement du Nord. Par Mme Clement (ne'e H&nery), 1832.

CLOETTA. Beitrage zur Litteraturgeschichte des Mitteialters und der

LIST OF AUTHORITIES xix

Renaissance. Von W. Cloetta. i. Komodie und Tragddie im Mittel-
alter, 1890. ii. Die Anfange der Renaissancetragodie, 1892.

Cod. Th. Codex Theodosianus. Edidit G. Haenel, 1844. {Corpus
fun's Romani Ante-Iustiniani, vol. ii.]

COLLIER. The History of English Dramatic Poetry to the Time of
Shakespeare : and Annals of the Stage to the Restoration. By J. P.
Collier. New ed. 1879.

COLLIER, Five Plays. Five Miracle Plays, or Scriptural Dramas.
Edited by J. P. Collier, 1836.

COLLIER, P. J. Punch and Judy, with illustrations by G. Cruikshank.
Accompanied by the Dialogue of the Puppet-Show, an account of its
Origin, and of Puppet-Plays in England. [By J. P. Collier.] 5th ed. 1870.

CONYBEARE. The History of Christmas. By F. C. Conybeare, 1899
[Journal of American Theology r , vol. Hi.]

CONYBEARE, Key of Truth. The Key of Truth : a Manual of the
Paulician Church. Edited and translated by F. C. Conybeare, 1898.

CORTEX. Essai sur les Fetes religieuses, et les Traditions populaires
qui s'y rattachent. Par E. Cortet, 1867.

COTGRAVE. A French-English Dictionary, with another in English
and French. By R. Cotgrave, 1650.

County Folk-Lore. Examples of printed Folk-Lore. Vol. i (Glouces-
tershire, Suffolk, Leicestershire, and Rutland), 1892-5. Vol. ii (North
Riding of Yorkshire, York, and the Ainsty), 1901. \F. L. S.]

COURTHOPE. A History of English Poetry. By W. J. Courthope.
Vols. i, ii. 1895-7. [In progress.]

COUSSEMAKER. Drames liturgiques du Moyen Age. Par E. de
Coussemaker, 1860.

COUSSEMAKER, Harm. Histoire de THarmonie au Moyen Age. Par
E. de Coussemaker, 1852.

Cox. Introduction to Folk- Lore. By M. R. Cox. 2nd ed. 1897.

C. P. B. Corpus Poeticum Boreale : the Poetry of the Old Northern
Tongue from the Earliest Times to the Thirteenth Century. Edited by
G. Vigfusson and F. Y. Powell. 2 vols. 1883.

CREIZENACH. Geschichte des neueren Dramas. Von W. Creizenach.
Vols i-iii, 1893-1903. [In progress.]

CROWEST. The Story of British Music, from the Earliest Times to
the Tudor Period. By F. J. Crowest, 1896.

C. S. Camden Society, now incorporated with the Royal Historical
Society.

C. S. E. L. Corpus Scriptorum Ecclesiasticorum Latinorum. Editum
consilio Academiae Litterarum Caesareae Vindobonensis. 41 vols. 1 866-
1900. [In progress.]

CUMONT. Textes et Monuments figure's relatifs aux Mysteres de
Mithra. Par F. Cumont. 2 vols. 1896-9.

CUNLIFFE. The Influence of Seneca on Elizabethan Tragedy. An
Essay by J. W. Cunliffe, 1893. [Manchester dissertation.]

xx LIST OF AUTHORITIES

CUNNINGHAM. Extracts from the Accounts of Revels at Court in the
Reigns of Queen Elizabeth and King James I. By P. Cunningham, 1842.
[Shakespeare Society.}

CUSHMAN. The Devil and the Vice in the English Dramatic Literature
before Shakespeare. By L. W. Cushman, 1900. \Studien zur englischen
Philologie, vi.]

CUTTS. Parish Priests and their People in the Middle Ages in England.
By E. L. Cutts, 1898.

DANK6. Die Feier des Osterfestes. Von J. Dank6, 1872. [Not
consulted.]

DANK.6, ffyntn. Vetus Hymnarium Ecclesiasticum Hungariae. Edidit
J. Dank6, 1893.

DAVID. Etudes historiques sur la Poe'sie et la Musique dans la Cambric.
Par E. David, 1884.

DAVIDSON. Studies in the English Mystery Plays. By C. Davidson,
1892. [Yale dissertation, in Transactions of Connecticut Academy ', ix. I.]

DAVIES. Extracts from the Municipal Records of the City of York
during the Reigns of Edward IV, Edward V, and Richard III. By
R. Davies, 1843.

DAWSON. Christmas : Its Origin and Associations. By W. F. Dawson,
1902.

D. C. A. A Dictionary of Christian Antiquities. Edited by Sir W.
Smith and S. Cheetham. 2 vols. 1875-80.

DEIMLING. The Chester Plays. Re-edited from the MSS, by the late
H. Deimling, 1893. [E. E. T. 5., Part i, with Plays 1-13, only published.]

DE LA FONS-MEUCOCQ. Ce're'monies dramatiques et anciens Usages
dans les glises du Nord de la France. Par A. de la Fons-Melicocq, 1850.

DENIFLE. Chartularium Universitatis Parisiensis. Collegit H. Denifle.
4 vols. 1889-97.

DESJARDINS. Histoire de la Cathe'drale de Beauvais. ParG.Desjardins,
1865.

DESLYONS. Traitez singuliers et nouveaux centre le Paganisme du
Roy Boit. Par J. Deslyons, 1670.

DEVRIENT. Geschichte der deutschen Schauspielkunst. Von E.
Devrient. 2 vols. 1848.

DIDRON. See Annales Archtologiques.

DIETERICH. Pulcinella; pompejanische Wandbilder und romische
Satyrspiele. Von A. Dieterich, 1897.

X)IEZ. Die Poesie der Troubadours. Von F. C. Dies, 1826.

DIEZ-BARTSCH. Leben und Werke der Troubadours. Von F. C. Diez.
Zweite Auflage, von K. Bartsch, 1882.

Digby Plays. See FuRNlVALL ; SHARP.

DILL. Roman Society in the last Century of the Western Empire. By
S. Dill. 2nd ed. 1899.

DITCHFIELD. Old English Customs extant at the present^ Time. By
P. H. Ditchfield, 1896.

LIST OF AUTHORITIES xxi

DIXON. A History of the Church of England from the Abolition of the
Roman Jurisdiction. By R: W. Dixon. 6 vols. 1878-1902.

D. N. B. Dictionary of National Biography. Edited by L. Stephen
and S. Lee. 66 vols. 1885-1901.

DORAN. A History of Court Fools. By J. Doran, 1858.

DOUCE. Illustrations of Shakspeare, and of Ancient Manners : with
Dissertations on the Clowns and Fools of Shakspeare, and on the English
Morris Dance. By F. Douce, 1839.

DOUHET. Dictionnaire des Mysteres. Par Jules, Comte de Douhet,
1854. Q. P. Migne, Encyclopedic Thtologigue, Series II, vol. xliii.]

DRAKE. Shakespeare and his Times. By N. Drake. Paris, 1838.

DREUX DE RADIER. Histoire des Fous en titre d'Office. Par
J. F. Dreux de Radier, 1768. [In Recreations Historigues.]

DREVES. Zur Geschichte der Fete des Fous. Von G. M. Dreves,
1894. \Stimmen aus Maria-Laach^ vol. xlvii.]

See also Analecta Hymnica.

DUCANGE. Glossarium mediae et infimae Latinitatis conditum a Du
Cangio, auctum a monachis Ordinis S. Benedicti, cum supplements
Carpenterii suisque digessit G. A. L. Henschel. Editio nova, aucta a
L. Favre. 10 vols. 1883-7.

DUCHESNE. Origines du Culte chre'tien : tude sur la Liturgie avant
Charlemagne. Par l'Abb L. Duchesne. 2nd ed. 1898. [A 3rd ed. was
published in 1902, and a translation, by M. L. McLure, under the title of
Christian Worship: its Origin and Evolution, in 1903.]

DUGDALE. Origines luridiciales : or, Historical Memorials of the
English Laws . . . Inns of Court and Chancery. By W. Dugdale. 2nd
ed. 1671.

DUGDALE, Monasticon. Monasticon Anglicanum : or, the History of
the Ancient Abbies and other Monasteries, Hospitals, Cathedral and
Collegiate Churches in England and Wales. By Sir W, Dugdale. A
new edition by J. Caley, Sir H. Ellis, and the Rev. B. Bandinel. 6 vols. 1846.

Du MRIL. Origines latmes du Theatre moderne, pubhe'es et annote'es
par M. ddlestand Du Me*ril, 1849. [Has also a Latin title-page, Theatri
Liturgici quae Latina superstant Monumenta, etc. A facsimile reprint
was issued in 1896.]

Du MRIL, La Com. Histoire de la Comedie. Par 6. du Me'ril.
Period e primitive, 1864. [All published.]

DUMMLER. Epistolae Merowingici et Karolini Aevi. Recensuit E. L.
Dlimmler. 3 vols. 1892-9. [M. G. H. Epistolae, iii-v. The 2nd vol.
contains Alcuin's letters.]

DURANDUS. Rationale Divinorum Officiorum editum per ....
Gulielmum Duranti. Haec editio a multis erroribus diligenter correcta.
[Edidit N. Doard.] Antwerpiae, 1614. See BARTHLEMY.

Durham Accounts. Extracts from the Account Rolls of the Abbey of
Durham. Edited by Canon Fowler. 3 vols. 1898-1901. \Surtees Soc.
xcix, c, ciii.]

xxii LIST OF AUTHORITIES

DURR. Commentatio Historica de Episcopo Puerorum, vulgo von
Schul Bischoff. Von F. A. Diirr, 1755. [In J. Schmidt, Thesaurus fun's
Ecclesiastici (1774), iii. 58.]

Du TILLIOT. Mmoires pour servir a 1'Histoire de la Fte des Foux.
Par M. Du Tilliot, Gentilhomme Ordinaire de S. A. R. Monseigneur le
Due de Berry, 1751.

DYER. British Popular Customs, Present and Past. By T. F.
Thiselton Dyer, 1876.

EBERT. Die englischen Mysterien. Von A. Ebert, 1859. [Jahrbuch
fur romanische und englische Literatur^ vol. i.]

ECKHARDT. Die lustige Person im alteren englischen Drama (bis
1642). Von E. Eckhardt, 1903. [Palaestra, xvii ; not consulted.]

E. H. Review. The English Historical Review. 18 vols. 1886-1903.
[In progress.]

ELTON. Origins of English History. By C. I. Elton. 2nd ed. 1890.

EVANS. English Masques. With an introduction by H. A. Evans,
1897. [ Warwick Library^

FABIAN. The New Chronicles of England and France. By R. Fabyan.
Edited by H. Ellis, 1811.

FAIRHOLT. Lord Mayor's Pageants. Edited by F. W. Fairholt.
2 vols. 1843-4. [Percy Soc. xxxviii, xlviii.]

FEASEY. Ancient English Holy Week CeremoniaL By H. J. Feasey,
1897.

FISCHER. Zur Kunstentwickelung der englischen Tragodie von ihren
ersten Anfangen bis zu Shakespeare. Von R. Fischer, 1893.

FITCH. Norwich Pageants. The Grocers' Play. From a manuscript
in possession of R. Fitch, 1856. [Extract from Norfolk Archaeology,
vol. v.]

F. L. Folk-Lore : a Quarterly Review of Myth, Tradition, Institution,
and Custom. 14 vols. 1890-1903. [Organ of F, L. S., in progress.]

F. L. Congress. The International Folk-Lore Congress, 1891. Papers
and Transactions. Edited by J. Jacobs and A. Nutt, 1892.

F. L. Journal. The Folk-Lore Journal, 7 vols. 1883-9. [Organ of
F. L. S.]

F.L. Record. The Folk- Lore Record. 5 vols. 1878-82. [Organ of .F.Z.S.]

FLEAY. C. H. A Chronicle History of the London Stage, 1559-1642.
By F. G. Fleay, 1890.

FLOGEL. Geschichte der Hofnarren. Von C. F. Flogel, 1789.

F. L. S.= Folk-Lore Society.

FOWLER. The Roman Festivals of the Period of the Republic : an
Introduction to the Study of the Religion of the Romans. By W. W.
Fowler, 1899. [Handbooks of Archaeology and Antiquities.]

FOURN JER. Le Theatre fran^ais avant la Renaissance. Par E. Fournier,
1872.

FOXE. The Acts and Monuments of John Foxe. With* a Life of the
Martyrologist by G. Townsend. [Edited by S. R. Cattley.] 8 vols. 1843-9.

LIST OF AUTHORITIES xxiii

FRAZER. The Golden Bough : a Study in Comparative Religion. By
J. G. Frazer. 2nd ed. 3 vols. 1900.

FRAZER, Pausanias. Pausanias's Description of Greece. Translated
with a commentary by J. G. Frazer. 6 vols. 1898.

FRERE. The Winchester Troper. Edited by W. H. Frere, 1894.
[Henry Bradshaw Society. "\

FRERE, Use of S arum. The Use of Sarum. Edited by W. H. Frere.

2 vols. 1898-1901.

See also PROCTER-FRERE.

FREYMOND. Jongleurs und Menestrels. Von E. Freymond, 1883
[Halle dissertation.]

FRIEDLANDER. Darstellungen aus der Sittengeschichte Roms in der
Zeit von August bis zum Ausgang der Antonine. Von L. Friedlander.
6th ed. 3 vols. 1888-90. [Das 7^heater is in vol. ii.]

FRONING. Das Drama des Mittelalters. Herausgegeben von R.Froning.

3 Parts, 1891. [Deutsche National- Litteratur, xiv.]

FROUDE. History of England from the Fall of Wolsey to the Defeat
of the Spanish Armada. By J. A. Froude. 2nd ed. 1889-95.

FURNIVALL. The Digby Plays, with an Incomplete Morality of
Wisdom, who is Christ. Edited by F. J. Furnivall, 1882. [JV. S. S.
Series vii, I : re-issue for E. E. T. S. 1896.]

See also LANEHAM, MANNYNG, STAFFORD, STUBBES.

Furnivall Miscellany. An English Miscellany Presented to Dr.
Furnivall in Honour of his Seventy-fifth Birthday, 1901.

GAIDOZ. Etudes de Mythologie gauloise. Par H. Gaidoz. I. Le Dieu
gaulois du Soleil et le Symbolisme de la Roue, 1886. [Extrait de la
Revue Archtologique, 1884-85.]

GASPARY. The History of Early Italian Literature to the Death of
Dante. Translated from the German of A. Gaspary, by H. Oelsner, 1901.

GASTE. Les Drames liturgiques de la Cathe"drale de Rouen. Par
A. Caste*, 1893. [Extrait de la Revue Catholique de Norntandie.]

GAUTIER. Les Iipope'es franchises. Par L. Gautier, vol. ii. 2nd edition,
1892. [Lib. ii. chh. xvii-xxi form the section on Les Propagateurs des
Chansons de Geste. References to this work may be distinguished from
those to Les Tropaires by the presence of a volume-number.]

GAUTIER, Bibl. Bibliographic des Chansons de Geste. Par L. Gautier,
1897. [A section on Les Propagateurs des Chansons de Geste.]

GAUTIER, Orig. Origines du Th&Ure moderne. Par L. Gautier, 1872.
[In Le Monde.]

GAUTIER, Tropaires. Histoire de la Podsie liturgique au Moyen Age.
Par L. Gautier. Vol. i. Les Tropaires, 1886. [All published.]

GAYLEY. Representative English Comedies : from the Beginnings to
Shakespeare. Edited by C. M. Gayley, 1903.

GAZEAU. Les Bouffons. Par A. Gazeau, 1882.

GENE. Die englischen Mirakelspiele und Moralitaten als Voriaufer
des englischen Dramas. Von R. Gene*e, 1878. [Serie xiii, Heft 305 of

xxiv LIST OF AUTHORITIES

Sammlung gemeinverstdndlicher wissenschaftlicher Vortrage, heraus-
gegeben von R. Virchow und Fr. v. Holtzendorff.]

GIBBON. The History of the Decline and Fall of the Roman Empire.
By E. Gibbon. Edited by J. B. Bury. 7 vols. 1897-1900.

GILPIN. The Beehive of the Romish Church. By G. Gilpin, 1579.
[Translated from Isaac Rabbotenu, of Louvain, 1569,]

Gloucester F.L. See County Folk- Lore.

GOEDEKE. Grundrfss zur Geschichte der deutschen Dichtung, aus den
Quellen, Von K. Goedeke. 2nd ed. 7 vols. 1884-1900. [In progress.]

Golden Legend. The Golden Legend : or, Lives of the Saints, as
Englished by W. Caxton. Edited by F. S. Ellis, 1900, &c. [Temple
Classics.]

GOLTHER. Handbuch der germanischen Mythologie. Von W. Golther,

1895.

GOMME. Ethnology in Folk-lore. By G. L. Gomme, 1892.

GOMME, Brit. Ass. On the Method of determining the Value of Folk-
lore as Ethnological Data. By G. L. Gomme, 1896. [In Report of British
Association for the Advancement of Science. \

GOMME, Nature. Christmas Mummers. By G. L. Gomme, 1897.
\Nature, vol. Ivii.]

GOMME, Vill. Comm. The Village Community : with special Reference
to the Origin and Form of its Survivals in Britain. By G. L. Gomme, 1890.
[Contemporary Science Series.]

GOMME, MRS. The Traditional Games of England, Scotland, and
Ireland, with Tunes. Collected and annotated by A. B. Gomme. 2 vols.
1894-8. [Part i of Dictionary of British Folk- Lore, Edited by G. L.
Gomme.]

GOOGE. See KlRCHMAYER.

GRACIE. The Presentation in the Temple : A Pageant, as originally
represented by the Corporation of Weavers in Coventry, 1836. [Edited
by J. B. Gracie for the Abbotsford ^ 7 ub.]

GRASS. Das Adamsspiel : anglonormannisches Gedicht des xii. Jahr-
hunderts. Mit einem Anhang ' Die funfzehn Zeichen des jiingsten Gerichts.'
Herausgegeben von K. Grass, 1891. [Roit^anische Bibliothek^ vi.]

GRATIAN. See C. I. Can.

GREEN IDGE. Infamia : Its Place in Roman Public and Private Law.
By A. H. J. Greenidge, 1894.

GREG, Masques. A list of Masques, Pageants, &c. Supplementary to
a list of English Plays. By W. W. Greg, 1902. {Bibliographical Society I\

GREG, Plays. A List of English Plays written before 1643, and
published before 1700. By W. W. Greg, 1900. [Bibliographical Society^

GREGORY. Gregorii Posthuma : on Certain Learned Tracts written
by John Gregory. Published by his Dearest Friend J. G. 1683. [Part II
of his Works'. A separate title-page for Episcopus Puerorum in Die
Innocentium : or, A Discovery of an Ancient Custom in th$. Church of
Sarum, of making an Anniversary Bishop among the Choristers^

LIST OF AUTHORITIES xxv

Gregory's Chronicle. The Historical Collections of a Citizen of London
in the Fifteenth Century. Edited by J. Gairdner, III, William Gregory's
Chronicle of London. [C. S. N. S. xvii.]

GREIN-WOLCKER. Bibliothek der angelsachsischen Poesie. Heraus-
gegeben von C. W. M. Grein. Neu bearbeitet, vermehrt und heraus-
gegeben von R. P. Wiilcker. 3 vols. 1883-98.

GRENIER. Introduction a 1'Histoire ge*ne*rale de la Province de Picardie.
Par Dom Grenier, 1856. [Me f moires de la Socittt des Antiquaires de
Picardie. Documents in^dits^ iii.]

GRIMM. Teutonic Mythology. By J. Grimm. Translated from the
4th ed. with notes and appendix by J. S. Stallybrass. 4 vols. 1 880-8.

GROBER. Zur Volkskunde aus Concilbeschliissen und Capitularien.
Von G. Grober. 1894.

GROBER, Grundriss. Grundriss der romanischen Philologie. Heraus-
gegeben von G. Grober. 1888-1902. [In progress. Vol. ii has article
by G. Grober on Franzosische Litteratur^\

GROGS. Play of Animals. The Play of Animals : a Study of Animal
Life and Instinct. By K. Groos. Translated by E. L. Baldwin, 1898.

GROOS. Play of Man. The Play of Man. By *K. Gross. Translated
by E. L. Baldwin, 1901.

GROSSE. Les Debuts de PArt. Par E. Grosse. Traduit par E. Dirr.
Introduction par L. Marillier, 1902. \Bibliotheque Scientifique Interna-
tionale^

GROVE. Dancing. By L. Grove, and other writers. With Musical
examples. 1895. {Badminton Library^

GUMMERE, B. P. The Beginnings of Poetry. By F. B. Gummere,
1901.

GUMMERE, G. O. Germanic Origins : a Study in Primitive Culture.
By F. B. Gummere, 1892.

GUTCH. A Lytell Geste of Robin Hood, with other Ballads relative to
Robin Hood. Edited by J. M. Gutch. 2 vols. 1847.

Guv. Essai sur la Vie et les (Euvres litt^raires du Trouvere Adan de
le Hale. Par H. Guy, 1898.

HADDAN-STUBBS. Councils and Ecclesiastical Documents relating to
Great Britain and Ireland. Edited, after Spelman and Wilkins, by A. W.
Haddan and W. Stubbs. 3 vols. 1869-78.

HADDON. The Study of Man. By A. C, Haddon, 1898. [Progres-
sive Science Series.]

HAIGH. The Tragic Drama of the Greeks. By A, E. Haigh, 1896.

HALL. The Union of the Families of Lancaster and York. By
E. Hall. Edited by H. Ellis. 1809.

HALLIWELL-PHILLIPPS. Outlines of the Life of Shakespeare. By J.
O. Halliwell-Phillipps. 9th ed. 2 vols. 1890.

HALLIWELL-PHILLIPS. Revels. A Collection of Ancient Documents
respecting tfie Office of Master of the Revels, and other Papers relating
to the Early English Theatre. [By J. O. Halliwell-Phillipps.] 1870.

xxvi LIST OF AUTHORITIES

HAMPSON. Medii Aevi Kalendarium : or Dates. Charters and
Customs of the Middle Ages, &c. By R. T. H amps on. 2 vols. 1841.

Handlyng Synne. See MANNYNG.

HARLAND. Lancashire Folk-Lore. By J. Harland and T. T. Wilkin-
son, 1867.

HARRIS. Life in an Old English Town : a History of Coventry from
the Earliest Times. Compiled from Official Records by M. D. Harris,
1 898. {Social England Series .]

HARTLAND. The Legend of Perseus : a Study of Tradition in Story,
Custom and Belief. By E. S. Hartland. 3 vols. 1894-6.

HARTLAND. Fairy Tales. The Science of Fairy Tales : an Inquiry
into Fairy Mythology. By E. S. Hartland, 1891. {Contemporary
Science Series.]

HARTZHEIM. See SCHANNAT.

HASE. Miracle Plays and Sacred Dramas. By C A. Hase. Trans-
lated by A. W. Jackson, 1880.

HASTINGS. Le The'atre francos et anglais : ses Origines grecques
et latines. Par C. Hastings, 1900.

HASTINGS. The Theatre : its Development in France and England.
By C. Hastings. Translated by F. A. Welby, 1901.

HAUCK. Kirchengeschichte Deutschlands. Von A. Hauck. 2nd ed.
3 vols. 1896-1900.

HAVARD. Les Fetes de nos Peres. Par O. Havard, 1898.

HAZLITT. Remains of the Early Popular Poetry of England. Collected
and edited, with introductions and notes, by W. Carew Hazlitt. 4 vols.
1864-6. [Library of Old Authors.]

HAZLITT, E. D. S. The English Drama and Stage under the Tudor and
Stuart Princes, 1543-1664, illustrated by a series of Documents, Treatises,
and Poems. Edited by W. C. Hazlitt, 1869. {Roxburghe Library^

HAZLITT, Liv. The Livery Companies of London. By W. C. Hazlitt,
1892.

HAZLITT, Manual. A Manual for the Collector and Amateur of Old
English Plays. By W. C. Hazlitt, 1892.

HAZLITT-DODSLEY. A Select Collection of Old Plays. By R. Dodsley.
Chronologically arranged, revised and enlarged by W. C. Hazlitt. 4th ed.
15 vols. 1874-6.

HAZLITT- WARTON. History of English Poetry, from the Twelfth to
the close of the Sixteenth Century. By T. Warton. Edited by W. C.
Hazlitt. 4 vols. 1871.

H. B. S. = Henry Bradshaw Society.

HEALES. Easter Sepulchres : their Object, Nature, and History. By
A. Heales, 1868. {Archaeologia, vol. xlii.]

HEINZEL. Beschreibung des geistlichen Schauspiels im deutschen
Mittelalter. Von R. Heinzel, 1898. {Beitrage zur A 'sthetik, iv.]

HENDERSON. Notes on the Folk-Lore of the Northern* Counties of
England and the Borders. By W. Henderson. 2nd ed. 1879. [F. L. S.]

LIST OF AUTHORITIES xxvii

HERBERT. Antiquities of the Inns of Court and Chancery. By W.
Herbert, 1804.

HERBERT, Liv. History of the Twelve Great Livery Companies of
London. By W. Herbert. 2 vols. 1836-7.

Hereford Missal. Missale ad usum percelebris Ecclesiae Herfordensis.
Edidit W. G. Henderson, 1874.

HERFORD. The Literary Relations of England and Germany in the
Sixteenth Century. By C. H. Herford, 1886.

HERRTRICH. Studien zu den York Plays. Von O. Herrtrich, 1886.
[Breslau dissertation ; not consulted.]

HlGGS. The Christmas Prince. By Griffin Higgs, 1607. [In Miscel-
lanea Antigua Anglicana, 1816.]

HILARIUS. Hilarii Versus et Ludi. Edidit J. J. Champollion-Figeac,
1838.

HIRN. The Origins of Art: a Psychological and Sociological Enquiry.
By Yrjo Hirn, 1900.

Hist. cTAutun. Histoire de l'glise d'Autun. Autun, 1774.

Hist. Litt. Histoire litte'raire de la France. Par des Religieux be'ne'-
dictins de la Congregation de S. Maur. Continue'e par des Membres de
rinstitut. 32 vols. 1733-1898. [In progress.]

Hist. AfSS. Reports of the Historical Manuscripts Commission, 1883-
1902. [In progress.]

HOBHOUSE. Churchwardens' Accounts of Croscombe, Pilton, Yatton,
Tintinhull, Morebath, and St. Michael's, Bath, 1349-1560. Edited by E.
Hobhouse, 1890. [Somerset Record Society, vol. iv.]

HODGKIN. Italy and her Invaders. By T. Hodgkin. 8 vols. 1892-9.

HOHLFELD. Die altenglischen Kollektivmisterien, unter besonderer
Beriicksichtigung des Verhaltnisses der York- und Towneley-Spiele. Von
A. Hohlfeld, 1889. [Anglia, vol. xi.]

HOLINSHED. Holinshed's Chronicles of England, Scotland, and
Ireland. 6 vols. 1807-8.

HOLTHAUSEN. Noah's Ark : or, the Shipwright's Ancient Play or
Dirge. Edited by F. Holthausen, 1897. [Extract from Goteborgs Hog-
skola's Arsskrift^\

HONE. Ancient Mysteries described, especially the English Miracle
Plays, founded on Apocryphal New Testament Story, extant among the
unpublished Manuscripts in the British Museum. By W. Hone, 1823.

HONE, E. D. B. The Every Day Book and Table Book. By W. Hone.
3 vols. 1838.

Household Ordinances. A Collection of Ordinances and Regulations
for the Government of the Royal Household, made in divers Reigns from
King Edward III to King William and Mary, 1790. [Society of Antiquaries
of London, ,]

HROTSVITHA. Hrotsvithae Opera. Recensuit et emendavit P. de
Winterfelc?, 1902. [In Scrip tores Rerum Germanicarum in usum Schola-
rum ex Mnnumentis Germaniae Historicis separatim

xxviii LIST OF AUTHORITIES

HUBATSCH. Die lateinischen Vagantenlieder des Mittelalters. Von
O. Hubatsch, 1870.

Indiculus. See SAUPE.

JAHN. Die deutschen Opfergebrauche bei Ackerbau und Viehzucht.
Em Beitrag von U. Jahn, 1884. \Germanistische Abhandlungen, heraus-
gegeben von Karl Weinhold, iii.]

JEANROY. Les Origines de la Poe'sie lyrique en France au Moyen
Age : Etudes de Litte'rature franchise et compare*e, suivies de Textes
ine'dits. Par A. Jeanroy, 1889.

JEVONS. An Introduction to the History of Religion. By F. B. Jevons,
1896.

JEVONS, Plutarch. Plutarch's Romane Questions. Translated A.D.
1603 by Philemon Holland, Now again edited by F. B. Jevons. With
Dissertations on Italian Cults, 1892.

See also SCHRADER.

JONES, Fasti. Fasti Ecclesiae Sarisburiensis, or A Calendar of the
Bishops, Deans, Archdeacons, and Members of the Cathedral Body at
Salisbury, from the Earliest Times to the Present. By W. H. Jones, 1881.
[Pages 295-301 contain an account of the Boy Bishop at Salisbury.]

JORDAN. The Creation of the World. By W. Jordan. Edited with a
translation by Whitley Stokes, 1863. {Transactions of Philological
Society^

JUBINAL. Jongleurs et Trouvres : Choix de Pieces des xiii* et xiv*
Siecles. Par M. L. A. Jubinal, 1835.

JUBINAL, Myst. My^teres ine'di's du xv e Si&cle. Par M. L. A. Jubinal.
2 vols. 1837.

JUBINAL, N. R. Nouveau Recueil de Contes, Dits, Fabliaux, et autres
Pieces incites des xiii, xiv, et xv Socles. Par M. L. A. JUBINAL.
2 vols. 1839-42.

JULIAN. luliani Imperatoris quae supersunt. Recensuit F. C. Hert-
lein. 2 vols. 1875-6.

JULLEVILLE. See PETIT DE JULLEVILLE.

JUSSERAND. Le Th^itre en Angleterre depuis la Conqudte jusqu'aux
Pr^d^cesseurs imm^diats de Shakespeare. Par J. J. Jusserand. 2nd ed,
1881.

JUSSERAND, E. L. A Literary History of the English People from the
Origins to the Renaissance. By J. J. Juascrand. Vol. i, 1895. [In
progress.]

JUSSERAND, E. W.L. English Wayfaring Life in the Middle Ages.
By J. J. Jusserand. Translated by L. T. Smith. 4th ed. 1892. [The
English translation has valuable illustrations.]

KEARY. The Vikings in Western Christendom: A.D. 789 to A.D. 888.
By C. F. Keary, 1891.

KELLER. Fastnachtspiele aus dem 15. Jahrhundert. Von A. von
Keller, 1853-8. ,

KELLY. Notices Illustrative of the Drama, and other Popular Amuse-

LIST OF AUTHORITIES xxix

ments, chiefly in the Sixteenth and Seventeenth Centuries, incidentally
illustrating Shakespeare and his Contemporaries; extracted from the
Chamberlain's Accounts and other Manuscripts of the Borough of Leices-
ter. With an introduction and notes by W. Kelly, 1865.

KEMBLE. The Saxons in England : a History of the English Common-
wealth till the Period of the Norman Conquest By J. M. Kemble. 2 vols.
1849.

KEMPE. Manuscripts and other rare Documents from the Reign of
Henry VIII to that of James I, preserved in the Muniment Room at
Loseley House. Edited by A. J. Kempe, 1835.

KIRCHMAYER. The Popish Kingdom, or reigne of Antichrist, written
in Latine verse by Thomas Naogeorgus (or Kirchmayer), and englyshed
by Barnabe Googe, 1570. [See STUBBES.]

KLEIN. Geschichte des Dramas. Von J. L. Klein. 13 vols. 1865-76.
Register-Band von T. Ebner, 1886. [Vol. ii contains * Das Drama der
Rdmer/ vol. iii * Die lateinischen Schauspiele/ vols. xii, xiii ' Das englische
Drama.']

KNAPPERT. Le Christianisme et le Paganisme dans PHistoire eccle*-
siastique de Bede le Ve"ne>able. Par L. Knappert, 1897. [In Revue de
t Histoire des Religions, vol xxxv.]

K6GEL. Geschichte der deutschen Litteratur bis zum Ausgange des
Mittelalters. Von R. Kogel. 2 vols. 1894-7. [All published.]

KOPPEN. Beitrage zur Geschichte der deutschen Weihnachtsspiele.
Von W. Koppen, 1893.

KORTING. Geschichte des Theaters in seinen Beziehungen zur Kunst-
entwickelung der dramatischen Dichtkunst. Erster Band: Geschichte
des griechischen undromischen Theaters, Von G. Korting, 1897.

KORTING, Grundriss. Grundriss der Geschichte der englischen Litte-
ratur von ihren Anfangen bis zur Gegenwart. Von G. Korting. 3rd ed. 1899.

KRAMER. Sprache und Heimath der Coventry-Plays. Von M. Kramer.
[Not consulted.]

KRUMBACHER. Geschichte der byzantinischen Litteratur von Justinian
bis zum Ende des ostromischen Reiches (527-1423). Von K. Krumbacher.
2nd ed. 1897. [Vol. ix. Pt I of Handbuch der klassiscken Altertums-
ivissenschaft) herausgegeben von Dr. I. von Muller.]

LABB^ Sacrosanct a Concilia. Studio Philippi Lab be i et Gabrielis
Cossartii. 17 vols. 1671-2.

LACROIX. Dissertation sur les Fous des Rois de France. Par P.
Lacroix. [pseud. P. L. Jacob.]

LANEHAM. Captain Cox, his Ballads and Books: or Robert Laneham's
Letter. Re-edited by F. J. Furnivall, 1871. [Ballad Society, vii. Re-
printed with slight alterations for N.S. S., series vi. 14 in 1890.]

Lang, et Litt. Histoire de la Langue et de la Literature franchise,
des Origines a 1900. Publics sous la direction de L. Petit de Julleville,
1896-1900. JTom. i, in two parts, covers the Moyen Age : the articles
are by various specialists.]

xxx LIST OF AUTHORITIES

LANG, M. of R. The Making of Religion. By A. Lang. 2nd ed.
1900.

LANG, M.R.R. Myth, Ritual, and Religion. By A. Lang. 2 vols.
1887. 2nd ed. 1899.

LANGE. Die lateinischen Osterfeiern : Untersuchungen liber den Ur-
sprung und die Entwickelung der liturgisch-dramatischen Auferstehungs-
feier. Von C. Lange, 1887.

LAVOIX. La Musique au Siecle de Saint-Louis. Par H. Lavoix.
[Contributed to G. Raynaud, Recueil de Motets franqais, vol. ii.]

LEACH. The Schoolboys' Feast. By A. F. Leach, 1896. [Fortnightly
Review, vol. lix.]

LEACH, Beverley MSS. Report on the Manuscripts of the Corporation
of Beverley. By A. F. Leach, 1900. [Hist. MSS.]

LEBER. Collection des meilleures Dissertations, Notices, et Trace's
particuliers, relatifs a 1'Histoire de France. Par C. Leber, J. B. Salgues
et J. Cohen. 20 vols. 1826-38.

Leicester F. L. See Country Folk-Lore.

LELAND. lohannis Lelandi de Rebus Britannicis Collectanea. Cum
T. Hearnii praefationibus, notis, &c. Accedunt de Rebus Anglicis Opu-
scula varia. 2nd ed. 6 vols. 1774.

LE ROY. Etudes sur les Mysteres. Par O. Le Roy, 1837.

L.H. T. Accounts. Accounts of the Lord High Treasurer of Scotland.
Edited by Thomas Dickson (vol. i, 1473-1498) and Sir J. B. Paul (vols. ii,
1500-1504; iii, 1506-1507), 1877-1901.

Lincoln Statutes. Statutes of Lincoln Cathedral. Arranged by
H. Bradshaw ; with Illustrative Documents, edited by C. Wordsworth.
2 vols. 1892-7.

LIPENIUS. Martini Lipenii Strenarum Historia, 1699 [in J. G. Graevius.
Thesaurus Antiquitatum Romanarum, xii. 409.]

LOLIE. La Fte des Fous. Par F. Loli^e, 1898. [In Revue des
Revues, vol. xxv.]

London Chronicle. A Chronicle of London, from 1089 to 1483. [Edited
by N. H. Nicolas or Edward Tyrrell], 1827.

Ludus Coventriae. Ludus Coventriae. A Collection of Mysteries,
formerly represented at Coventry on the Feast of Corpus Christi. Edited
by J. O. Halliwell, 1841 [Shakespeare Society].

LUICK. Zur Geschichte des englischen Dramas im xvi. Jahrhundert.
Von K. Luick, 1898. [In Forschungen zur neueren Litter aturges chicht e :
Festgabe fur Richard Heinzel^\

MAASSEN. Concilia Aevi Merovingici. Recensuit F. Maassen, 1893.
[M. G. H. Leges, Sectio iii.]

MACHYN. The Diary of Henry Machyn, Citizen and Merchant-Taylor
of London, 1550-63. Edited by J. G. Nichols, 1848. [C. S. O. S. xlii.]

MACLAGAN. The Games and Diversions of Argyleshire. By R. C.
Maclagan, 1901. [F. L. S.]

MAGNIN. Les Origines du Theatre moderne, ou Histoite du Ge*nie

LIST OF AUTHORITIES xxxi

dramatique depuis le I** jusqu'au xvi 6 Sifccle. Par C. Magnin, 1838.
[Vol. i only published, containing introductory ' Etudes sur les Origines
du Theatre antique.' Notes of Magnin's lectures in the Journal gtntral
de F Instruction publique (1834-6) and reviews in the Journal des Savants
(1846-7) partly cover the ground of the missing volumes.]

MAGNIN, Marionnettes. Histoire des Marionnettes en Europe. Par
C. Magnin. 2nd ed. 1862.

MALLESON-TUKER. Handbook to Christian and Ecclesiastical Rome.
By H. Mfalleson] and M. A. R. T[uker]. 3 vols. 1897-1900.

MANLY. Specimens of the Pre-Shaksperean Drama. With an intro-
duction, notes, and a glossary. By J. M. Manly. 3 vols. 1897.
\AthencBum Press Series ; 2 vols. only yet published.]

MANNHARDT. Waid- und Feld-Kulte. Von W. Mannhardt. 2 vols.

1875-7-

MANNING. Oxfordshire Seasonal Festivals. By P. Manning, 1897.

[Folk- Lore, vol. viii.]

MANNYNG. Roberd [Mannyng] of Brunne's Handlyng Synne. Edited
by F. J. Furnivall, 1862. [Roxbvrghe Club ; a new edition promised for
E. E. T. S.}

MANSI. Sacrorum Conciliorum Nova et Amplissima Collectio. Editio
novissima a patre J. D. Mansi. 30 vols. Florence, 1769-92.

MAP. See WRIGHT.

MARKLAND. Chester Mysteries. De deluvio Noe, De occisione in-
nocentium. Edited by J. H. Markland, 1818. \Roxburghe Club.}

MARQUARDT-MOMMSEN. Handbuch der romischen Alterthiimer.
Von J. Marquardt und T. Mommsen. 3rd ed. 7 vols. 1881-8.

MARRIOTT. A Collection of English Miracle- Plays or Mysteries.
Edited by W. Marriott. Basle, 1838.

MARTENE. De Antiquis Ecclesiae Ritibus Libri Tres collecti atque
exornati ab Edmundo Martene. Editio novissima, 1783. [This edition
has a 4th vol., De Monachorum Ritibus.]

MARTIN OF BRAGA. Martin von Bracara's Schrift : De Correctione
Rusticorum, herausgegeben von C. P. Caspari, 1883. [ Videnskabs-Selskab
of Christiania.]

MARTIN ENGO-CESARESCO. Essays in the Study of Folk-Songs. By
the Countess E. Martinengo-Cesaresco, 1886.

MARTONNE. La Pie*t du Moyen Age. Par A. de Martonne, 1855.

MASKELL. The Ancient Liturgy of the Church of England according
to the Uses of Sarum, York, Hereford, Bangor, and the Roman Liturgy.
By W. Maskell. 3rd ed. 1882.

MASKELL, Mon. Rtt. Monumenta Ritualia Ecclesiae Anglicanae.
Occasional Offices according to the ancient Use of Salisbury, &c. By
W. Maskell. 2nd ed. 3 vols. 1882.

MAUGRAS. Les Comddiens bors la Loi. Par G. Maugras, 1887.

MAYER. Ein deutsches Schwerttanzspiel aus Ungarn. Von F. A.
Mayer, 1889. {Zeitschrift fur Volkerpsychologie^

xxxii LIST OF AUTHORITIES

Mtlusine. Melusine: Recueil de Mythologie, Literature popilairc,
Traditions et Usages, 1878, 1883, &c.

MERBOT. Aesthetische Studien zur angelsiichsischen Poesie. Von
R. Merbot, 1883.

Merc. Fr. Le Mercure de France. 974 vols. 1724-91.

MEYER. Fragmenta Burana. Herausgegeben von W. Meyer aus
Speyer, 1901. [Sonderabdruck aus der Festschrift zur Feier des 150
jahrigen Bestehens der Kbniglichen Gesellschaft der Wissenschaften zu
Gottingen^

MEYER, Germ. Myth. Germanische Mythologie. Par E. H. Meyer, 1891.

M. G. H. Monumenta Germaniae Historiae. Auspiciis Societatis
Aperiendis Fontibus Rerum Germanicarum Medii Aevi. Edidit G. H,
Pertz, T. Mommsen, et alii, 1826-1902. [In progress, under various series,
as Auctores Antiquissimi, Efistolae, Leges, Scriptores, &c. Indices, 1 890.]

MICHELS. Studien iiber die altesten deutschen Fastnachtspiele. Von
V. Michels, 1896. [Quellen und Forschungcn, Ixxvii.]

MICKLETHWAITE. The Ornaments of the Rubric. By J. T. Mickle-
thwaite, 1897. [Alcuin Club Tracts, I.]

MILCHSACK. DieOster-und Passionsspiele: literar-historische Unter-
suchungen iiber den Ursprung und die Entwickelung derselben bis zum
siebenzehnten Jahrhundert, vornehmlich in Deutschland. Von G. Milch-
sack, i, Die lateinischen Osterfeiern, 1880. [All published.]

Miracles de Nostre Dame. Miracles de Nostre Dame par Personnages.
Public's d'apres le manuscrit de la Bibliotheque Nationale par G. Paris et
U. Robert. 8 vols. 1876-93. [SociM des Anciens Textes Franfais.]

MOGK. Mythologie. Von E. Mogk. 2nd ed. 1897-8. [In Paul,
Grundriss, 2nd ed. vol. iii.]

MOMMSEN, C. I. L. Inscriptiones Latinae Antiquissimae. Editio
Altera. Pars Prior. Cura Theodori Mommsen [et aliorum], 1893.
[Corpus Inscriptionum Latinarum, vol. i. part i.]

See MARQUARDT-MOMMSEN.

MONACI. Appunti per la Storia del Teatro italiano. Per E. Monaci,
1872-5. \Rivista di Filologia Romama, i, ii.]

Monasticon. See DUGDALE.

MONE. Schauspiele des Mittelalters, Herausgegeben und erkiart von
F. J. Mone. 2 vols. 1846.

MONE. Altteutsche Schauspiele. Herausgegeben von F. J. Mone, 1 835.

MoNMERQU&MlCHEL. Theatre francais au Moyen Age. Public'
d'apres les Manuscrits de la Bibliotheque du Roi par L. J. N. Monmerque'
ct F. Michel, 1839.

MONTAIGLON-RAYNAUD. Recueil ge*ne*ral et complet des Fabliaux
des treizieme et quatorzieme Siecles. Par A. de Montaiglon et G. Ray-
naud. 6 vols. 1872-90.

MONTAIGLON-ROTHSCHILO. Recueil de Poesies francjaises des quin-
zieme et seizieme Siecles. Par A. de Montaiglon et J. de JRothschild.
13 vols. 1855-78.

LIST OF AUTHORITIES xxxiii

MOREAU. Fous et Bouffons. tude physiologique, psychologique et
historique par P. Moreau, 1885.

MORLEY. Memoirs of Bartholomew Fair. By H. Morley, 1859.

MORLEY, E. W. English Writers : an Attempt towards a History of
English Literature. By H. Morley. n vols. 1887-95.

MORRIS. Chester in the Plantagenet and Tudor Reigns. By Rupert
Morris, 1893.

MORTENSEN, Medeltidsdramat i Frankrike. By Dr. Mortensen, 1899.
[Not consulted.]

MULLEN HOFF. Ueber den Schwerttanz. Von K. Miillenhoff, 1871.
[In Festgabenfiir Gustav Homey er, zum 28. Juli 1871 (Berlin). Miillen-
hofTs essay is contained in pages in to 147 ; he published additions to
it in Zeitschriftfitr devtsches Alterthum, xviii. 9 ; xx. 10.]

Mt)LLER, E. Le Jour de 1'An et les trennes, chez tous ies Peuples
dans tous les Temps. Par E. Muller, n. d.

MULLER, P. E. Commentatio Historica de Genio, Moribus et Luxu
Aevi Theodosiani. By P. E. Muller. 2 parts, 1797-8.

N. E. D. A New English Dictionary on Historical Principles, founded
mainly on the Materials collected by the Philological Society. Edited
by J. A. H. Murray, H. Bradley, and W. A. Craigie. Vols. 1-6, 1888-1903.
[In progress,]

NEWELL. Gamesand Songs of American Children. ByW.W.Newell,i884.

NICHOLS, Elizabeth. Progresses and Public Processions of Queen
Elizabeth. With historical notes, &c., by J. Nichols. 2nd ed. 3 vols. 1823.

NiCHOLS, James I. Progresses, Processions, and Festivities of James I,
his Court, &c. By J. Nichols. 4 vols. 1828.

NICHOLS, Pageants. London Pageants. By J. G. Nichols, 1837.

NICHOLSON. Golspie : Contributions to its Folklore. Edited by
E. W. B. Nicholson, 1897.

NICK. Hof- und Volksnarren. Von A. F. Nick, 1861.

Noctes Shaksperianae. Noctes Shaksperianae : Papers edited by
C. H. Hawkins, 1887. {Winchester College Shakespere Society.}

NOLDECHEN. Tertullian und das Theater. Von E. Noldechen, 1894.
\Zeitschriftfur Kirchengeschichte^ xv. 161.]

Norf. Arch. Norfolk Archaeology : or, Miscellaneous Tracts relating
to the Antiquities of the County of Norfolk, 1847-1903. [In progress :
transactions of Norfolk and Norwich Archaeological Society. ~\

N ORRIS. The Ancient Cornish Drama. Edited and translated by
E. Norris. 2 vols. 1859.

NORTHALL, English Folk-Rhymes: a Collection of Traditional Verses
relating to Places and Persons, Customs, Superstitions, &c. By G. F.
Northall, 1892.

Northern F. L. See HENDERSON.

N. Q. Notes and Queries: a Medium of Intercommunication for
Literary Men and General Readers. 107 vols. 1850-1903. [Ninth
decennial series in progress.]

CHAMBERS. I

xxxiv LIST OF AUTHORITIES

N. S. S. -s New Shakspere Society.

OLRIK. Middelalderens vandrende Spillemaend. By A. Olrik, 1887.
[In Opuscula Philologica, Copenhagen ; not consulted.]

OPORINUS. Dramata Sacra, Comoediae et Tragoediae aliquot e Veteri
Testamento desumptae. 2 vols. Basileae, Oporinus, 1 547.

ORDISH. English Folk-Drama. By T. F. Ordish, 1891-3. [Folk-
Lore ', vols. ii, iv.]

OROSIUS. Pauli Orosii Historiarum adversus Paganos libri vii.
Recensuit C. Zangemeister, 1882. [C. S. E. L. vol. v.]

OWEN- BLAKE WAY. A History of Shrewsbury. [By H. Owen and
J. B. Blakeway.] 2 vols. 1825.

PADELFORD. Old English Musical Terms. By F. M. Padelford, 1899.

PARIS. La LitteYature fransaise au Moyen Age. Par G. Paris.
2nd edition, 1890. [A volume of the Manuel (Pancien Fran$ais.~]

PARIS, Orig. Les Origines de la Poe*sie lyrique en France au Moyen
Age. Par G. Paris, 1892. [Extrait du Journal des Savants.}

Paston Letters. The Paston Letters; 1422-1509 A. D. Edited by
J. Gairdner. 2nd ed. 4 vols. 1900.

PAUL, Grundriss. Grundriss der germanischen Philologie. Heraus-
gegeben von H. Paul. 2nd ed. 1896-1902. [In progress.]

PEARSON. The Chances of Death and other Studies in Evolution.
By K. Pearson. 2 vols. 1897.

PERCY. Reliques of Ancient English Poetry. By Thomas Percy.
Edited by H. B. Wheatley. 3 vols. 1876. [Vol. i contains an Essay on
the Ancient Minstrels in England.]

PERCY, N. H. B. The Regulations and Establishment of the House-
hold of Henry Algernon Percy, the fifth Earl of Northumberland, &c.
Edited by T. Percy, 1827.

PERTZ. See M. G. H.

PETIT DE JULLEVILLE. Les Mysteres. Par L. Petit de Julleville.
2 vols. 1880. [Forms, with three following, the Histoire du Theatre en
France.]

PETIT DE JULLEVILLE, La Com. La Come*die et les Moeurs en France
au Moyen Age. Par L. Petit de Julleville, 1886.

PETIT DE JULLEVILLE, Les Com. Les Come'diens en France au Moyen
Age. Par L. Petit de Julleville, 1889.

PETIT DE JULLEVILLE, Rty. Com. Repertoire du Theatre Comique
en France au Moyen Age. Par L. Petit de Juileville, 1886.

See also Lang, et Litt.

PFANNENSCHMIDT. Germanische Erntefeste im heidnischen und
christlichen Cultus mit besonderer Beziehung auf Niedersachsen. Von H.
Pfannenschmidt, 1878.

P. G. Patrologiae Cursus Completus, seu Bibliotheca Universalis,
Integra, Unifonnis, Commoda, Oeconomica, Omnium SS. Patrum, Do-
ctorum Scriptorumve Ecclesiasticorum, &c. ; Series Graecaff Accurante
J. P. Migne. 161 vols. 1857-66.

LIST OF AUTHORITIES xxxv

PHILPOT. The Sacred Tree : or the Tree in Religion and Myth. By
Mrs. J. H. Philpot, 1897.

PiCOT. La Sottie en France. Par E. Picot, 1878. [In Romania,
vol. vii.]

PILOT DE THOREY. Usages, Fetes, et Coutumes, existant ou ayant
existd en Dauphine*. Par J. J. A. Pilot de Thorey. 2 vols. 1884.

P. L. Patrologiae Cursus Completes, &c. Series Latina. Accurante
J. P. Migne. 221 vols. 1844-64.

PLUMMER. See BEDE, E. H.

POLLARD. English Miracle Plays, Moralities, and Interludes : Speci-
mens of the Pre-Elizabethan Drama. Edited by A. W. Pollard. 3rd ed.
1898.

See also Toivneley Plays.

PRELLER. Romische Mythologie. Von L. Preller. 3rd ed. by
H. Jordan. 2 vols. 1881-3.

PROCTER-FRERE. A New History of the Book of Common Prayer.
By F. Procter. Revised and rewritten by W. H. Frere, 1901.

PROLSS. Geschichte des neueren Dramas. Von R. Prolss. 3 vols.
1881-3.

Proinptorium Parvulorum. Promptorium Parvulorum seu Clericorum :
Lexicon Anglo-Latinum Princeps, Auctore Fratre Galfrido Grammatico
Dicto, circa 1440. Recensuit A. Way. 3 vols. 1843-65. [C. S. O. s. xxv,
liv, Ixxxix.]

PRYNNE. Histrio-Mastix. The Players Scourge or Actors Tragedie.
By W. Prynne, 1633.

PUECH. St. Jean Chrysostome et les Moeurs de son Temps. Par
A. Puech, 1891.

RAMSAY, f. E. The Foundations of England, or Twelve Centuries of
British History; B.C. 55-A.D. 1154. By Sir J. H. Ramsay. 2 vols.
1898.

RAMSAY, L. Y. Lancaster and York: 1399-1485. By Sir J. H.
Ramsay. 2 vols. 1892.

RASHDALL. The Universities of the Middle Ages. By H. Rashdall.
2 vols. 1895.

RAYNAUD. Recueil de Motets fran^ais des douzieme et treizieme
Siecles, avec notes, &c., par G. Raynaud. Suivi d'une Iitude sur la Mu-
sique au Siecle de S. Louis par H. Lavoix fils. 2 vols. 1881-3.

Regularis Concordia. De Consuetudine Monachorum. Herausgegeben
von W. S. Logemann, 1891-3. [Anglia, vols. xiii, xv.]

REIDT. Das geistliche Schauspiel des Mittelalters in Deutschland.
Von H. Reidt, 1868.

REINERS. Die Tropen-, Prosen- und Prafations-Gesange des feierlichen
Hochamtes im Mittelalter. Von A. Reiners, 1884. [Not consulted.]

Reliquiae Antiquae. See WRIGHT-HALLIWELL.

Rev. Celt. Revue Celtique, dirige'e par H. Gaidoz [afterwards H.
D*Arbois de Jubainville], 24 vols. 1890-1903. [In progress.]

C 2

xxxvi LIST OF AUTHORITIES

Rev. Hist. ReL Annales du Muse'e Guimet. Revue de 1'Histoire des
Religions. 46 vols. 1880-1902. [In progress.]

Rev. T. P. Revue des Traditions populaires, 1 886, &c. [Organ of
ScriMe 1 des Traditions populaires^

RHYS, C. F. Celtic Folklore : Welsh and Manx. By J.Rhys. 2 vols. 1901.

RHYS, C. H. Lectures on the Origin and Growth of Religion as
illustrated by Celtic Heathendom. By J. Rhys, 1888. [The Hibbert
Lectures for 1886.]

RIBTON-TURNER. A History of Vagrants and Vagrancy. By C. J.
Ribton-Turner, 1887.

RIGOLLOT. Monnaies inconnues des Eve"ques des Innocens, des Fous,
et de quelques autres Associations singulieres du meme Temps. Par
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RILEY. Memorials of London and London Life : a series of Extracts
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RIMBAULT. Two Sermons Preached by the Boy Bishop. Edited by
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RJTSON, Bibl. Poet. Bibliographia Poetica : a Catalogue of English
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RITSON, Robin Hood. Robin Hood : a Collection of all the Ancient
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RITSON, Songs. Ancient Songs and Ballads, from Henry II to the
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Ritual Commission. Second Report of the Commissioners Appointed
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LIST OF AUTHORITIES xxxvii

R. 5.=Remm Britannicarum Medii Aevi Scriptores, or, Chronicles
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xxxviii LIST OF AUTHORITIES

SCHMIDT. Die Digby-Spiele. Von K. Schmidt, 1884. [Berlin dis-
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SCHMITZ. Die Bussbucher und die Bussdisciplin der Kirche. Von
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SEIFERT. Wit-und-Science Moralitaten. Von J. Seifert, 1892. [Not
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SEPET. Les Prophetes du Christ. tude sur les Origines du Theatre
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SEPET, D. C. Le Drame Chretien au Moyen Age. Par Marius Sepet,
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SEPET, Or. Origines catholiques du Theatre moderne. Par Marius
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SHARP. A Dissertation on the Pageants or Dramatic Mysteries,
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S. P. Dom. Calendar of State Papers, Domestic Series, of the Reigns
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LIST OF AUTHORITIES xxxix

SPECHT. Geschichte des Unterrichtswesens in Deutschland. Von
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SPENCE. Shetland Folk-Lore. By J. Spence, 1899.

STAFFORD. A Compendious or Brief Examination of Certain Ordinary
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Suffolk F. L. See County Folk-Lore.

SWETE. Church Services and Service-Books before the Reformation.
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SWOBODA. John Heywood als Dramatiker. Ein Beitrag zur Entwick-
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SYMONDS. Shakspere's Predecessors in the English Drama. By
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TABOUROT. Orche'sographie ; par Thoinot Arbeau [pseud, for Jehan
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TEUFFEL.^ Teuffel's History of Roman Literature. Revised and en-
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xl LIST OF AUTHORITIES

THIERS. lohannis Baptistae Thiers, de Festorum Dierum Imminu-
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THIERS. Traits' des Jeux et des Divertissemens qui peuvent tre
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TICKNOR. History of Spanish Literature. By G. Ticknor. 6th
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TIERSOT. Histoire de la Chanson populaire en France. Par J. Tiersot,
1889.

TILLE, D. W. Die Geschichte der deutschen Weihnacht. Von
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TILLE, Y and C. Yule and Christmas : Their Place in the Germanic
Year. By G. Tille, 1899.

TORRACA. II Teatro italiano dei Secoli xiii, xiv, e xv. Per F. Torraca,
1885.

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Usages, Traditions et Arts populates.

UNGEMACHT. Die Quellen der fiinf ersten Chester Plays. Von H.
Ungemacht, 1890.

USENER. Religionsgeschichtliche Untersuchungen. Von H. Usener.
3 vols. 1889-99.

Use of S arum. See FRERE.

VACANDARD. L'Idolatrie dans la Gaule. Par E. Vacandard, 1899.
[In Revue des Questions historiques, vol. Ixv.]

Variorum. The Plays and Poems of William Shakespeare. With
a Life of the Poet and an Enlarged History of the Stage. By the late
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VAUX. Church Folklore. By the Rev. J. E. Vaur, 1894. [A 2nd ed.
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Venetian Papers. See BROWN.

Viel Testament. Le Mistere du Viel Testament. Publie' avec intro-
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VIOLLET-LE-DUC. Ancien Theatre fra^ois : depuis les Mystfcres
jusqu'a Corneille. Par E. L. N. Viollet-le-Duc. 10 vols. 1854-7.

VOGT. Leben und Dichten der deutschen Spielleute im Mittelalter.
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WACKERNAGEL. Geschichte der deutschen Litteratur. Ein Hand-
buch von W. Wackernagel. 2nd ed. by E. Martin, 1879.

WACKERNELL. Altdeutsche Passionsspiele aus Tirol. Von T E
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WAIXASCHEK. Primitive Music: an Inquiry into the Origin and

LIST OF AUTHORITIES xli

Development of Music, Songs, Instruments, Dances, and Pantomimes of
Savage Races. By R. Wallaschek, 1893.

WALTER. Das Eselsfest Von A. Walter, 1885. [In Caedlicn-
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WARD. A History of English Dramatic Literature to the Death of
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WARTON. See HAZLITT-WARTON.

WASSERSCHLEBEN. Die Bussordnungen der abendlandischen Kirche.
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WECHSSLER. Die romanischen Marienklagen. Ein Beitrag zur Ge-
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WESTERMARCK. A History of Human Marriage. By E. Wester -
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WETZER-WELTE. Kirchenlexicon. Von H. J. Weczer und B. Welte.
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WlECK. Der Teufel auf der mittelalterlichen Mysterienbiihne. Von
H. Wieck, 1887. [Marburg dissertation : not consulted.]

WlLKEN. Geschichte der geistlichen Spiele in Deutschland. Von E,
Wilken, 1872.

WILKJNS. Concilia Magnae Britanniae et Hiberniae, 446-1717.
Accedunt Constitutiones et alia ad Historiam Ecclesiae Anglicanae Spe-
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WlLMOTTE. Les Passions allemandes du Rhin dans leur Rapport
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Winchester Troper. See FRERE.

WIRTH. Die Oster- und Passionsspiele bis zum xvi. Jahrhundert. Von
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WISSOWA. Religion und Kultus der Romer. Von G. Wissowa, 1902.
[Vol. v, Part 4 of I. von Miiller's Handbuch der classischen Altertums-
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WOOD, Athenae. Athenae Oxonienses, an Exact History of all Writers
and Bishops who have had their Education in the University of Oxford.
By Anthony k Wood. 2nd ed. by P. Bliss. 4 vols. 1813-20.

WOOD, Hist. Univ. History and Antiquities of the University of
Oxford. By Anthony a Wood. Now first published in English with con-
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WOOD-MARTIN. Traces of the Elder Faiths of Ireland. By W. G.
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WORDSWORTH. Notes on Mediaeval Services in England, with an
index of Lincoln Ceremonies. By C. Wordsworth, 1898.

xlii LIST OF AUTHORITIES

WORDSWORTH, Proc. Ceremonies and Processions of the Cathedral
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WRIGHT. Early Mysteries and other Latin Poems of the Twelfth and
Thirteenth Centuries. By T. Wright, 1838.

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WRIGHT, Map. The Latin Poems commonly attributed to Walter
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WRIGHT-HALLIWELL. Reliquiae Antiquae: Scraps from Ancient
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Language. By T. Wright and J. O. Halliwell. 2 vols. 1841.

WRIGHT-WULCKER. Anglo-Saxon and Old English Vocabularies. By
T. Wright. Edited and collated by R. P. Wiilcker. 2 vols. 1884.

WULCKER. Grundriss zur Geschichte der angelsachsischen Litteratur:
mit einer Obersicht der angelsachsischen Sprachwissenschaft. Von R.
Wiilcker, 1885.

WYLIE. A History of England under Henry IV. By J. H. Wylie.
4 vols. 1884-98.

York Breviary. Breviarium ad usum insignis Ecclesiae Eboracensis.
Edidit S. W. Lawley. 2 vols. 1880-2. \Surtees Soc. Ixxi, Ixxv.]

York Manual. Manuale et Processionale ad usum insignis Ecclesiae
Eboracensis. Edidit W. G. Henderson, 1875. \Surtees Soc. Ixiii. Con-
tains also Sarum Manual.}

York Missal. Missale ad usum insignis Ecclesiae Eboracensis. Edidit
W. G. Henderson. 2 vols. 1874. \Surlees Soc. lix, lx.]

York Plays. The Plays performed by the Crafts or Mysteries of York
on the Day of Corpus Christi. Edited by L. T. Smith, 1885.

Z.f. a. A. Zeitschrift fur deutsches Alterthum {afterwards added und
deutsche Literatur], 1841-1903. [In progress.]

Z.f. rom. Phil, ^eitschrift fur romanische Philologie, 1877-1903. [In
progress.]

ZSCHECH. Die Anfange dcs cnglischen Dramas. Von Dr. Zschecb,
1886. [Not consulted.]

BOOK I

MINSTRELSY

C'est une etrange entreprise que celle de faire rire les
honnetes gens. J.-B. POQUELIN DE

Moliere est un infame histrion. J.-B. BOSSUET.

CHAPTER I

THE FALL OF THE THEATRES

[Bibliographical Note. A convenient sketch of the history of the
Roman stage will be found in G. Korting, Geschichte des griechischcn
und romisihen Theaters (1897). The details given in L. Friedlander,
Sittengeschichte Roms in der Zeit von August bis zum Ausgang der
Antonine (vol. ii, 7th ed. 1901), and the same writer's article on Die
Spiele in vol. vi of Marquardt and Mommsen's Handbuch der romischcn
Alterthumer (2nd ed. 1885), may be supplemented from E. Noluechen's
article Tettullian ttnd das Theater in Zcitschrift fitr Kirthengeschtchte,
xv (1894), 161, for the fabulae Atellanae from A. Dieterich, Pulcinelta
(1897), chs. 4-8, and for the pantomimi from C. Sittl, Die Gebarden
drr Gnechen und Rbmer (1890), ch. 13. The account in C. Magnin,
Les Origines du ThSAfre moderne (vol. i, all published, 1838), is by
no means obsolete. Teuffel and Schwabe, History of Latin Litcra-
ture, vol. i, 3-18 (trans. G. C. \V. Warr, 1891), contains a mass of
imperfectly arranged material. The later history of the Greek stage is
dealt with by P. E. Muller, Commentatio historica de genio, moribus et
luxu aevi 7 heodosiani (1798), vol. ii, and A. E. Haigh, Tragic Drama of
the Greeks (1896), ch. 6. The ecclesiastical prohibitions are collected by
W. Prynne, Htstriomastix (1633^, and J. de Douhet, Dictionnaire dcs
Mystires (1854), and their general attitude summarized by H.Alt, Theater
und Kirche in ihrein gegenscitigen Verhaltniss (1846). S. Dill^ Roman
Society in the Last Century of the Roman Empire (2nd ed. 1899), should
be consulted for an admirable study of the conditions under which the
pre-mediaeval stage came to an end.]
***

CHRISTIANITY, emerging from Syria with a prejudice
against disguisings *, found the Roman world full of scenici.
The mimetic instinct, which no race of ma kind is wholly
without, appears to have been unusually strong amongst the
peoples of the Mediterranean stock. A literary drama came
into being in Athens during the sixth century, and estab-
lished itself in city after city. Theatres were built, and
tragedies and comedies acted on the Attic model, wherever
a Greek foot trod, from Hipola in Spain tp Tigranocerta in
Armenia. The great capitals of the later Greece, Alexandria,

1 Deuteronomy, xxii. 5, a com- /.) asserts, *non amat falsum

monplace of anti-stage controversy auctor veritatis ; aduiterium est

fromTertulliaA(^i?5/^/^//J,c.23) apud ilium omne quod fingitur.'
to Histrio-Mastix. Tertullian (loc.

CHAMBERS. I

2 MINSTRELSY

Antioch, Pergamum, rivalled Athens itself in their devotion
to the stage. Another development of drama, independent
of Athens, in Sicily and Magna Graecia, may be distinguished
as farcical rather than comic. After receiving literary treat-
ment at the hands of Epicharmus and Sophron in the fifth
century, it continued its existence under the name of mime
(/ui/^o?), upon a more popular level. Like many forms of
popular drama, it seems to have combined the elements of
farce and morality. Its exponents are described as buffoons
t, 7rcuyyioy/>a<(n) and dealers in indecencies (aj/cu-
) y and again as concerning themselves with ques-
tions of character and manners (7j0oAo'yoi, dperaAoyoi). They
even produced what sound singularly like problem plays
(v7ro0ras). Both qualities may have sprung from a common
root in the observation and audacious portrayal of contem-
porary life. The mime was still flourishing in and about
Tarentum in the third century *.

Probably the Romans were not of the Mediterranean stock,
and their native ludi were athletic rather than mimetic. But
the drama gradually filtered in from the neighbouring peoples.
Its earliest stirrings in the rude farce of the satura are
attributed by Livy to Etruscan influence 2 . From Campania
came another type of farce, the Oscum ludicrum or fabula
Atcllana, with its standing masks of Maccus and Bucco,
Pappus and Dossennus, in whom it is hard not to find a
kinship to the traditional personages of the Neapolitan corn-
media dell arte. About 240 B.C. the Greek Livius Andro-
nicus introduced tragedy and comedy. The play now
became a regular element in the spectacula of the Roman
festivals, only subordinate in interest to the chariot-race and
the gladiatorial show. Permanent theatres were built in the
closing years of the Republic by Pompey and others, and
the number of days annually devoted to ludi scenici was con-
stantly on the increase. From 48 under Augustus they
grew to 101 under Constantius. Throughout the period of

1 J. Denis, La Cpmtdie grccque not intended for representation

(iS86) T i. 50, 106 ; ii. 535. The so- (Croiset, Hist, de la Lift, grecque,

called mimes of Herodas (third v. 174).

cent. B. c.) are literary pieces, based 2 Livy, vii. 2 ; Valerius Maximus,

probably on the popular mime but ii. 4. 4 (364 B. C.).

THE FALL OF THE THEATRES 3

the Empire, indeed, the theatre was of no small political
importance. On the one hand it was the rallying point of
all disturbers of the peace and the last stronghold of a
public opinion debarred from the senate and the forum ; on
the other it was a potent means for winning the affect-ion of
the populace and diverting its attention from dynastic
questions. The scenici might be thorns in the side of the
government, but they were quite indispensable to it. If their
perversities drove them from Italy, the clamour of the mob
soon brought them back again. Trajan revealed one of the
arcana imperil when he declared that the annona and the
spectacula controlled Rome 1 . And what was true of Rome
was true of Byzantium, and in a lesser degree of the smaller
provincial cities. So long as the Empire itself held together,
the provision firstly of corn and secondly of novel htdi re-
mained one of the chief preoccupations of many a highly
placed official.

The vast popular audiences of the period under consider-
ation cared but little for the literary drama. In the theatre
of Pompey, thronged with slaves and foreigners of every
tongue, the finer histrionic effects must necessarily have been
lost 2 . Something more spectacular and sensuous, something
appealing to a cruder sense of humour, almost inevitably took
their place. There is evidence indeed that, while the theatres
stood, tragedy and comedy never wholly disappeared from
their boards 3 . But it was probably only the ancient master-
pieces that got a hearing. Even in Greece performances of
new plays on classical models cannot be traced beyond about
the time of Hadrian. And in Rome the tragic poets had long
before then learnt to content themselves with recitations and
to rely for victims on the good nature, frequently inadequate,
of their friends 4 . The stilted dramas of Seneca were the

1 Juvenal, x. 81 ; Dion Chryso- given at from 17,580 to 40,000, that

stom, Or. xxxii. 370, 18 M.; Fronto, of the theatre of Balbus at from

Princip. hist. v. 13. A fourth-cen- 11,510 to 30,085, that of the theatre

tury inscription (Bull. d. Commis. of Marcellus as 20,000.
arch. comun.di Rom a, 1891,342)00^ 8 Friedlander, ii. 100 ; Haigh,

tai ns a list of small Roman tabernarii 457; Krumbacher, 646 ; Welcker,

enti tied tQlocuyt spectaculis etpanem. Die gricchischen Tragbdien ( 1 84 1 ),

f The holding capacity of the iii. 1472.
theatre of Pompey is variously * Juvenal, i. I ; Pliny, Efist. vi.

B 3

4 MINSTRELSY

delight of the Renaissance, but it is improbable that, until
the Renaissance, they were ever dignified with representation.
Roughly speaking, for comedy and tragedy the Empire sub-
stituted farce and pantomime.

Farce, as has been noticed, was the earliest traffic of the
Roman stage. The Atellane, relegated during the brief
vogue of comedy and tragedy to the position of an interlude
or an afterpiece, now once more asserted its independence.
But already during the Republic the Atellane, with its some-
what conventional and limited methods, was beginning to
give way to a more flexible and vital type of farce. This
was none other than the old mime of Magna Graecia, which
now entered on a fresh phase of existence and overran both
West and East. That it underwent considerable modifi-
cations, and probably absorbed much both of Atellane and
of Attic comedy, may be taken for granted. Certainly it
extended its scope to mythological themes. But its leading
characteristics remained unchanged. The ethical element,
one may fear, sank somewhat into the background, although
it was by no means absent from the work of the better mime-
writers, such as Laberius and Publilius Syrus 1 . But that
the note of shamelessness was preserved there is no doubt
whatever 2 . The favourite theme, which is common indeed
to farce of all ages, was that of conjugal infidelity 3 . Un-
chaste scenes were represented with an astonishing realism 4 .

15 ; vii. 17 ; Tacitus, de Oratori- * Incerti ( fourth century) ad

bus, 9, 1 1. Tcrentium (ed. Giles, i. xix) * mimos

1 The Scntentiae of Publilius ab diuturna imitatione vihum rerum

Syrus were collected from his et levium personarum.' Diomedes

mimes in the first century A. D., and (fifth century), Ars Grammatical^

enlarged from other sources during iii. 488 ' mimus est sermonis

the Middle Ages (Teuffel-Schwabe, cuiuslibet imitatio et motus sine

212). Cf. the edition by W. reverentia, vel factorum et dictorum

Meyer, 1880. The other fragments turpium cum lascivia imitatio. 1

of the mimographs are included in s Ovid, Tristia^ n. 497:

O. Ribbeck, Comicorum Romano- 'quid, si scripsissem mimos ob-

rum Fragmenta (3rd ed. 1898). scoena iocantes,

Philistion of Bithyma, about the qui semper vetiti crimen amoris

time of Tiberius, gave the mime habent.'

a literary form once more in his * Hist. August a , Vita Helioga-

Ktt/updicu fitoXoyiKai (J. Denis, La bali^ 25 'in mimicis ^adulteriis ea

Com., grecque, ii. 544; Croiset, Hist, quae solent simulate 'fieri effici ad

de la Litt. grecque, v. 449). verum iussit' ; cf. the pyrrichat

THE FALL OF THE THEATRES 5

Contrary to the earlier custom of the classical stage, women
took part in the performances, and at the Floralia, loosest
of Roman festivals, the spectators seem to have claimed it
as their right that the mimae should play naked 1 . The
mimus for the same term designates both piece and actor
was just the kind of entertainer whom a democratic audience
loves. Clad in a parti-coloured centunculus, with no mask
to conceal the play of facial gesture, and planipes, with no
borrowed dignity of sock or buskin, he rattled through his
side-splitting scenes of low life, and eked out his text with
an inexhaustible variety of rude dancing, buffoonery and
horse-play 2 . Originally the mimes seem to have performed
in monologues, and the action of their pieces continued to
be generally dominated by a single personage, the archi-
mimus, who was provided with certain stupidi and parasiti
to act as foils and butts for his wit. A satirical intention
was frequently present in both mimes and Atellanes, and
their outspoken allusions are more than once recorded to
have wrung the withers of persons of importance and to have
brought serious retribution on the actors themselves. Cali-
gula, for instance, with characteristic brutality, had a ribald
playwright burnt alive in the amphitheatre 3 .

The farce was the diversion of the proletariat and the
bourgeoisie of Rome. Petronius, with all the insolence of
the literary rran, makes Trimalchio buy a troupe of comedians,
and insist on their playing an Atellane 4 . The golden and

described by Suetonius, Nero, 12. to be traced here.

The Roman taste for bloodshed was 2 The 'mimus' type is exactly re-

sometimes gratified by mimes given produced by more than one popular

in the amphitheatre, and designed performer on the modern * variety '

to introduce the actual execution or * burlesque ' stage.

of a criminal. Martial, de Specta- 3 Macrobius, Sat. ii. 7 ; Cicero,

cults, 7, mentions the worrying and ad Atticum, xiv. 3 ; Suetonius, Au~

crucifixion of a brigand in the mime gustus, 45, 68 ; Tiberius ; 45 ; Cali-

Laureolus, by order of Domitian : gula, 27 ; Nero, 39 ; Galba, 13 ;

*cudaCaledonio sic pectoraprae- Vespasian, 19; Domitian, 10 ;

buit urso Hist. Augusta, Vita Marc. AureL

non falsa pendens in cruce Lau- 8. 29 ; Vita Commodi, 3 ; Vita

reolus.' Maximini, 9.

1 Martial, i. I ; Ausonius, Eel. 4 Petronius, Satyricon, liii ; cf.

xviii. 25; Iiactantius (t3<x>), de Taming of the Shrew, i. i. 258

Inst. div. i. 20. 10. Probably the * 'Tis a very excellent piece of work,

influence of a piece of folk-ritual is madam lady ; would 'twere done ! '

6 MINSTRELSY

cultured classes preferred the pantomimic dance. This arose
out of the ruins of the literary drama. On the Roman stage
grew up a custom, unknown in Greece, by which the lyric
portions of the text (canticd) were entrusted to a singer who
stood with the flute-player at the side of the stage, while
the actor confined himself to dancing in silence with appro-
priate dumb show. The dialogue (divcrbia) continued to
be spoken by the actors. The next step was to drop the
diverbia altogether ; and thus came the pantomimns who
undertook to indicate the whole development of a plot in
a series of dramatic dances, during the course of which he
often represented several distinct roles. Instead of the single
flute-player and singer a full choir now supplied the musical
accompaniment, and great poets Lucan and Statius among
the number did not disdain to provide texts for the fabulae
salticae. Many of the pantomimi attained to an extreme
refinement in their degenerate and sensuous art. They were,
as Lucian said, xipoVo<oi, erudite of gesture *. Their subjects
were, for the most part, mythological and erotic, not to say
lascivious, in character 2 . Pylades the Cilician, who, with
his great rival Bathyllus the Alexandrian, brought the dance
to its first perfection under Augustus, favoured satyric
themes ; but this mode does not appear to have endured.
Practically the dancers were the tragedians, and the mimes
were the comedians, of the Empire. The old Etruscan name
for an actor, histrio, came to be almost synonymous with
pantomimus*. Rome, which could lash itself into a fury
over the contests between the Whites and Reds or the
Blues and Greens in the circus, was not slow to take sides
upon the respective merits of its scenic entertainers. The

1 Lucian, de Saltatione, 69. origin of the name, cf. Livy, vii. 2

2 Juvenal, Sat. vi. 63 ; Zosimus * ister Tusco verbo ludius vocaba-
(450-501 A. D.), i. 6 (Corp. Script, tur.' Besides ludhts, actor is good
Hist. Byz. xx. 12) rj T< yap Trai/ro- Latin. But it is generally used in

op\ricris v tittivois eltryxfy T0 ' lf some such phrase as actor prima-

. . . iro\\>v a*na yryovora ruin personarttm, protagonist, and

G&c KOKWV. by itself often means dominus

This is not wholly so, at any gregis> manager of the grex or

rate in Tacitus, who seems to in- company. Mimus signifies both

elude the players both of mimes performer and performance, panto-

and of Atellanes amongst histriones mimus the performer only. He is

(Ann. i. 73 ; iv. 14). For the said salt are fabu las.

THE FALL OF THE THEATRES 7

histrionalis favor led again and again to brawls which set
the rulers of the city wondering whether after all the panto-
mimi were worth while. Augustus had found it to his
advantage that the spirit of partisanship should attach itself
to a Pylades or a Bathyllus rather than to more illustrious
antagonists *. But the personal instincts of Tiberius were
not so genial as those of Augustus. Early in his principate
he attempted to restrain the undignified court paid by
senators and knights to popular dancers, and when this
measure failed, he expelled the histriones from Italy -'. The
example was followed by more than one of his successors,
but Rome clamoured fiercely for its toys, and the period
of exile was never a long one 3 .

Both mimi and pantoinimi had their vogue in private, at the
banquets and weddings of the great, as well as in public. The
class of scenici further included a heterogeneous variety of
lesser performers. There were the rhapsodes who sung the
tragic cantica, torn from their context, upon the stage. There
were musicians and dancers of every order and from every
land 4 . There were jugglers {praestigiatorcs, acctabuli}, rope-
walkers (fuuambitli), stilt- walkers (grallatores), tumblers
(cernui, petauristae, petaminarii\ buffoons (sanniones^ scitrrac)^
beast-tamers and strong men. The pick of them did their
' turns ' in the theatre or the amphitheatre ; the more humble
were content with modest audiences at street corners or in the
vestibule of the circus. From Rome the entertainers of
the imperial race naturally found their way into the theatres
of the provinces. Tragedy and comedy no doubt held their
own longer in Greece, but the stage of Constantinople under
Justinian does not seem to have differed notably from the stage
of Rome under Nero. Marseilles alone distinguished itself by
the honourable austerity which forbade the mimi its gates 5 .

1 Dion Cassius, liv. 17. Hadriani^ 19; Vifa Alex. Scvcri,

2 Tacitus, AnnaleS) i. 77; iv. 14; 34.

Dion Cassius, Ivii. 21 ; Suetonius, 4 The pyrricha^ a Greek con-

Tiberins, 37. certed dance, probably of folk

3 Tacitus, Annales, xiii. 25 ; xiv. origin (cf. ch. ix), was often given a
21 ; Dion Cassius, hx. 2 ; L\i. 8 ; mythological argumcntttm. It was
Ixviii. 10 ; Sivtomus, AVn>, 16, 26 ; danced in the amphitheatre.
T//I/J, 7 ; Vomitian^ 7 ; Pliny, 6 Valerius Maximus, ii. 6. 7
Paneg. 46; Hist. Augusta^ Vita *eadem civitas severitatis custos

8 MINSTRELSY

It must not be supposed that the profession of the scenici
ever became an honourable one in the eyes of the Roman law.
They were for the most part slaves or at best freedmen. They
were deliberately branded with infamia or incapacity for civil
rights. This infamia was of two kinds, depending respectively
upon the action of the censors as guardians of public dignity
and that of the praetors as presidents in the law courts. The
censors habitually excluded actors from the ins stiff ragii and
the ins honormn, the rights of voting and of holding sena-
torial or equestrian rank ; the praetors refused to allow them,
if men, to appear as attorneys, if women, to appoint attorneys,
in civil suits *. The legislation of Julius Caesar and of Augustus
added some statutory disabilities. The lex Inlia municipalis
forbade actors to hold municipal honor es 2 : the lex htlia dc
adidtcriis set the example of denying them the right to bring
criminal actions 3 ; the lex Inlia ct Papia Poppaca limited
their privileges when freed, and in particular forbade senators
or the sons of senators to take to wife women who had been,
or whose parents had been, on the stage 4 . On the other hand
Augustus confined the ins virgartim> which the praetors had
formerly had over scenici, to the actual place and time of
performances 6 ; and so far as the censorian infamia was con-
cerned, the whole tendency of the late Republic and early
Empire was to relax its application to actors. It came to be
possible for senators and knights to appear on the stage with-
out losing caste. It was a grievous insult when Julius Caesar

acerrima est : nullum aditum in further exemption for persons ap-

scenam mimis dando, quorum argu- pearing in their minority ( C 7. C.

menta maiore in parte stuprorum Cod. lust. ri. 11. 21). The censors,

continent act us ; ne taha spectandi on the oth^r hand, spared the

ronsuKtudo ctiam imitandi been- Atclhini y whose performances had

tiam sumat. 7 a traditional connexion with re-

1 A. H. J. Greenidge, Itifanua ligious rites.

(passim) ; liouche-Leclercq, Man- * 2 C.f.L. i. 122.

vcl des Institute/is rowatntS) 352, * C. I. C. Digest, xlviii. 5. 25. A

449; Edictum pi.ictc.ris in C. I. C. husband may kill an actor with

Digest^ iii. 2. i * infamia notatur qui whom his wife is guilty.

. . . art is ludicrae pronuntiandi\e 4 Ibid, xxiii. 2. 42, 44 ; xxxviiu I.

tausa in scaenam prodierit.' The 37; Ulpian, Frtigin. xni.

jurists limited the application of 5 Tacitus, Anndies, i. 77, An

the rule to professional actors. Thy- attempt to restore t^e old usage

melici) or orchestral musicians, under Tiberius was unsuccessful.
were exempt. Diocletian made a

THE FALL OF THE THEATRES 9

compelled the mimograph Laberius to appear in one of his
own pieces. But after all Caesar restored Laberius to his
rank of eques> a dignity which at a still earlier date Sulla had
bestowed on Roscius l . Later the restriction broke down
altogether, although not without an occasional reforming effort
to restore it 2 . Nero himself was not ashamed to take the
boards as a singer of cantica 3 . And even an infamis, if he
were the boon companion of a prince, might be appointed to
a post directly depending on the imperial dignity. Thus
Caracalla sent a pantomimus to hold a military command on
the frontier, and Heliogabalus made another praefectus urbi in
Rome itself 4 . Under Constantino a reaction set in, and a new
decree formally excluded scenici from all dignitatcs 5 . The
severe class legislation received only reluctant and piecemeal
modification, and the praetorian iufamia outlived the Empire
itself, and left its mark upon Carolingian jurisprudence 6 .

The relaxation of the old Roman austerity implied in the
popularity of the mimi and histriones did not pass uncensured
by even the pagan moralists of the Empire. The stage has
a share in the denunciations of Tacitus and Juvenal, both of
whom lament that princes and patricians should condescend
to practise arts once relegated to the infames. Martial's
hypocrite rails at the times and the theatres. Three centuries
later the soldierly Ammianus Marcellinus finds in the
gyrations of the dancing-girls, three thousand of whom were
allowed to remain in Rome when it was starving, a blot
upon the fame of the state ; and Macrobius contrasts the
sober evenings of Praetextatus and his friends with revels
dependent for their mirth on the song and wanton motions of

1 Caesar was tolerably magnani- Domitian^ 8.

rnous, fnr Laberius had already * Suetonius, Nero, 21 ; Tacitus,

taken his revenge in a scurrilous Ann. xiv. 14 ; Juvenal, viii. 198 ;

prologue. It had its touch of pathos, Pseudo-Lucian, Nero, 9.

too: * Dion Cassius, Ixxvii. 21 ; Hist.

*eques Romanus lare egressus August 'a, Vita Helwgabali^ 12.

meo Yet in the time of Severus a soldier

domum revertar mimus.' going on the stage was liable to

2 Cicero, ad Fam. x. 32 ; Dion death (C. /. C. Digest^ xlviii. 19.
Cassius, xlviii. 33; liii. 31 ; liv. 2; 14).

Ivi. 47; Ivii..i4; lix. 10; Ixi. 9; fi C. L C. Cod. lust. xii. I. 2.
bcv. 6 ; Tacitus, Ann. xiv. 20 ; Hist. 6 Cf. p. 38.
ii. 62 ; Suetonius, Augustus^ 45 ;

10 MINSTRELSY

the psaltria or the jests of sabulo and planipes 1 . Policy
compelled the emperors to encourage spectacula, but even they
were not always blind to the ethical questions involved.
Tiberius based his expulsion of the histriones^ at least in part,
on moral grounds. Marcus Aurelius, with a philosophic
regret that the high lessons of comedy had sunk to mere
mimic dexterity, sat publicly in his box and averted his eyes
to a state-paper or a book 2 . Julian, weaned by his tutor
Mardonius from a boyish love of the stage, issued strict
injunctions to the priests of the Sun to avoid a theatre which
he despaired of reforming 3 . Christian teachers, unconcerned
with the interests of a dynasty, and claiming to represent
a higher morality than that either of Marcus Aurelius or of
Julian, naturally took even stronger ground. Moreover, they
had their special reasons for hostility to the stage. That the
actors should mock at the pagan religion, with whose ludi their
own performances were intimately connected, made a good
dialectical point. But the connexion itself was unpardonable,
and still more so the part taken by the mimes during the war
of creeds, in parodying and holding up to ridicule the most
sacred symbols and mysteries of the church. This feeling is
reflected in the legends of St. Genesius, St. Pelagia and other
holy folk, who are represented as turning from the scenic
profession to embrace Christianity, the conversion in some
cases taking place on the very boards of the theatre itself 4 .

1 Tacitus, Ann. xiv. 20 ; Juvenal, He also thinks that the moral lay-
vi. 60 ; viii. 183 ; Martial, ix. 28. 9 ; man should avoid the theatre
Ammianus Marcellinus, xiv. 6. 18 ; (Misopogon, p. 343 c).

xxviii. 4. 32 ; Macrobius, ii. I. 5, 9. * On the critical problem offered

2 M. Aurelius, Comm.yA. 6; Hist. by such vitae cf. Prof. Bury in
Augusta^ Vita M. Aurel. 15. This Gibbon, i. 1. B. von der Lage,
refers directly to the circus. Studien zur Genesius - legende

3 Gibbon, ii. 447; Schaflf, v. 49; (1898), attempts to show that the
Dill, 34, 100 ; P. Allard, Julien legends of St. Genesius (Acta SS.
rApostat, i. 272 ; Alice Gardner, Aug.v. 122), St. Gelasius (Acta SS.
Julian theApostatCyivi ; G. H. Ren- Feb. iii. 680), St. Ardalio (Acta SS.
dall, The Emperor Julian (1879), Apr. ii. 213), St. Porphyrius (Acta
1 06. The most interesting passage SS. Sept. v. 37), and another St.
is a fragmentary * pastoral letter ' Porphyrius (Acta SS. Nov. ii. 230)
to a priest (ed. Hertlein, Fragm. are all variants of a Greek story
Ep. p. 304 P> ; cf. Ep. 49, p. 430 Jj ) ; originally told of an anonymous
Julian requires the priests to ab- mimus. The Passio o/ St. Genesius
stain even from reading the Old represents him as a magister ntiini-
Comedy (Fragm. Ep. p. 300 D). themelae artts> converted while he

THE FALL OF THE THEATRES 11

So far as the direct attack upon the stage is concerned, the
key-note of patristic eloquence is struck in the characteristic
and uncompromising treatise De Spectaculis of Tertullian.
Here theatre, circus, and amphitheatre are joined in a three-
fold condemnation. Tertullian holds that the Christian has
explicitly forsworn spectacula^ when he renounced the devil
and all his works and vanities at baptism. What are these
but idolatry, and where is idolatry, if not in the spectacula,
which not only minister to lust, but take place at the festivals
and in the holy places of Venus and Bacchus ? The story is
told of the demon who entered a woman in the theatre and
excused himself at exorcism, because he had found her in his
own demesne. A fervid exhortation follows. To worldly
pleasures Christians have no claim. If they need spectacula
they can find them in the exercises of their Church. Here are
nobler poetry, sweeter voices, maxims more sage, melodies
more dulcet, than any comedy can boast, and withal, here is
truth instead of fiction. Moreover, for Christians is reserved
the last great spectaculum of all. ' Then,' says Tertullian,
'will be the time to listen to the tragedians, whose lamenta-
tions will be more poignant for their proper pain. Then will
the comedians turn and twist, rendered nimbler than ever by
the sting of the fire that is not quenched V With Tertullian
asceticism is always a passion, but the vivid African rhetoric
is no unfair sample of a catena of outspoken comment which
extends across the third century from Tatian to Lactantius 2 .

was mimicking a baptism before Apol0geticus,\$(P.L.\.3$7). The

Diocletian and martyred. It pro- information as to the contemporary

fesscs to give part of the dialogue of stage scattered through Tertullian's

the mime. The legends of St. Phile- works is collected by E. Noldechen,

mon (Menologium Bastlii, ii. 59; Tertullian und das Theater (Z. f.

cf. Act A SS. Mar. i. 751) and St. Kirchengeschichte (1894), xv. 161).

Pelagia or Margarita (A eta SS. Oct. An anonymous De Spectaculis, for-

iv. 248) appear to be distinct. Pal- merly ascribed to St. Cyprian,

ludius. Vita Chrysostonii^ 8, records follows on Tertullian's lines (P. L.

how the stage of Antioch in the iv. 779, transl. in Ante-Nicene

fifth century rang with the scandals Christian Libr. xiii. 221).

caused by the patriarch Severus 2 Tatian, ad Graecos, 22 (P. G.

and other Monophysite heretics. vi. 856) ; Minucius Felix, < )ct<ii'fus 9

1 Tertullian, De Spect^ especially 27 (P. L. iii. 352) ; Cyprian, Epist.

cc. 4, 26, 30. Schaff, iv. 833, dates i. 8 (P. L. iv. 207) ; Lactantius, tie

the treatise f2oo. An earlier Jnst. div. vi. 20 (P. L. vi. 710), ' quid

Greek writing by Tertullian on the de mimis loquar, corruptelarum

same subject is lost ; cf. also his praeferentibus disciplinam, qui do-

12

MINSTRELSY

The judgement of the Fathers finds more cautious expression
in the disciplinary regulations of the Church. An early formal
condemnation of actors is included in the so-called Canons of
Hippolytus a , and the relations of converts to the stage were
discussed during the fourth century by the councils of Elvira
(306) and of Aries (314) and by the third and fourth councils
of Carthage (397-398) 2 . It was hardly possible for practical
legislators to take the extreme step of forbidding Christian
laymen to enter the theatre at all. No doubt that would be the
counsel of perfection, but in dealing with a deep-seated popular
instinct something of a compromise was necessary 3 . An
absolute prohibition was only established for the clergy: so
far as the laity were concerned, it was limited to Sundays and
ecclesiastical festivals, and on those days it was enforced by
a threat of excommunication 4 . No Christian, however, might
be a scenicus or a scenic a, or might marry one ; and if a member
of the unhallowed profession sought to be baptized, the
preliminary of abandoning his calling was essential 5 .

cent adulteria, dam fingunt, et
simulatis erudiunt ad vcra ? ' ; cf.
Du Me"ril, Or. Lat. 6 ; Schaff, iii.
339. A remarkable collection of
all conceivable authorities against
the stage is given by Prynne, 566,
685, &c.

1 Canones Hippolyti, 67 (Du-
chesne, 509) 4 Quicumque fit 0ea-
rpiKos vel gladiator et qui currit vel
docet voluptates vel [illegible] vel
[illegible] vel Kwrjyof vel tTTTroftpo-
^of [?], vel qui cum bestiis pugnat
vel idolorum sacerdos, hi omnes
non admittuntur ad sermones
sacros nisi prius ab illis immundis
open bus purgentur/ This is from
an Arabic translation of a lost

Greek original. M. Duchesne says
* ce recueil de prescriptions litur-
giques et disciplmaires est surement
anterieur au iv e siecle, et rien ne
s'opppse a ce qu'il remonte a la
date indique"e par le nom d'Hippo-
lyte'[t 198-2 36].

2 Cone. hub. cc. 62, 67 (Mansi,
ii. 1 6) ; Cone. Arelat. c. 5 (Mansi,
ii. 471) ; 3 Cone. Carth. cc. II, 35
(Mansi, iii. 882, 885) ; 4 Cone.
Carth. cc. 86, 88 (Mansi, iii. 958).

8 The strongest pronouncement
is that of Augustine and others in
3 Cone. Carth. c. II * ut filii epi~
scoporum vel clericorum spectacula
saecularia non exhibeant, sed non
spectent, quandoquidem ab specta-
culo et omnes laici prohibeantur.
Semper enim Christiajiis omnibus
hoc mterdictum est, ut ubi blasphe-
mi sunt, non accedant.'

* 4 Lone. Carth. c. 88 * Qui die
solenni, praetermisso solenni eccle-
siae conventu, ad spectacula vadit,
excommunicetur.'

6 D.C.A. s.w. Actor, Theatre;
Bingham, vi. 212, 373, 439 ; Alt,
310; Prynne, 556. Some, how-
ever, of the pronouncements of the
fathers came to have equal force
with the decrees of councils in
canon law. The Code of Gratian
(til 39). besides 3 Cone. Carth.
c. 35 'scenicis atque ystrionibus,
ceterisque huiusmodi personis, vel
apostaticis conversis, vel reversis
ad Deum, gratia vel reconcilia-
tio non negetur* (C. I. Can. iii.
2. 96) and 7 Cone. Carth. (419) c. 2
(Mansi, iv. 437) ' omnes etiam infa-
miae maculis aspersi, id est histrio-

THE FALL OF THE THEATRES 13

It is curious to notice that a certain sympathy with the
stage seems to have been characteristic of one of the great
heresiarchs. This was none other than Arius, who is said to
have had designs of setting up a Christian theatre in rivalry
to those of paganism, and his strange work, the Thaleia, may
perhaps have been intended to further the scheme. At any
rate an orthodox controversialist takes occasion to brand his
Arian opponents and their works as * thymelic ' or ' stagy' 1 .
But it would probably be dangerous to lay undue stress upon
what, after all, is as likely as not to be merely a dialectical
metaphor.

After the edict of Milan (313), and still more after the end
of the pagan reaction with the death of Julian (363), Christian
influences began to make themselves felt in the civil legislation
of the Empire. But if the councils themselves were chary of
utterly forbidding the theatre, a stronger line was not likely
to be taken in rescripts from Constantinople or Ravenna.
The emperors were, indeed, in a difficult position. They
stood between bishops pleading for decency and humanity
and populaces now traditionally entitled to their pattern et
spcctacula. The theatrical legislation preserved in the Code of
Theodosius is not without traces of this embarrassment 2 . It

nes . . . ab accusatione prohibentur ' Monophysitas ac Monothelitas

(C. I. Can. ii. 4. I. i), includes two (Mai, Coll. Nov. Script. Vet. vii.

patristic citations. One is Cyprian, 202), speaks of the avyypappara

Ep. Ixi. (P. L. iv. 362), which is * de of the Arians as dupe Xixaff <-

ystrione et mago illo, qui apud vos /3Xovr, and calls the Arian Euno-

constitutus adhuc in suae artis mius Trp^rocrTarrjs TTJS 'Apei'ov Ovpe-

dedecore perseverat/ and forbids XtKrjs- op^ijoTpar. I doubt if these

' sacra communio cum ceteris phrases should be taken too liter-

Christianis dari ' (C. L Can. iii. 2. ally ; possibly they are not more

95); the other Augustine, Tract, than a criticism of the buffoonery

C. ad c. 16 lohannis (P. Z. xxxv. and levity which the fragments of

1891) 'donare res suas histrionibus the edXaa display. Krumbacher

vitium est immane, non virtus' (C. mentions an orthodox 'Ajrt&iAeia

L Can. \. 86. 7). Gratian adds Isi- of which no more seems to be

dorus Hispalensis, de Eccl. Off. ii. 2 known.

(P. L. Ixxxiii. 778) * his igitur lege a Alt, 310 ; Bingham, vi. 273 ;

Patrum cavetur, ut a vulgari vita Schaff, v. 106, 125; Haigh, 460;

seclusi a mundi voluptatibus sese Dill, 56; P.Allard,y/*># VApostat.

abstineant ; non spectaculis, non i. 230. The Codex Theodosianus^

pompis intersint* (C /. Can. i. drawn up and accepted for both

23. 3). empires t435, contains imperial

1 Sathas, 7 ; Krumbacher, 644. edicts from the time of Constantine

Anastasius Sinaita (bp. of An- onwards,
tioch, 564) in his tract, Adversus

14 MINSTRELSY

is rather an interesting study. The views of the Church were
met upon two points. One series of rescripts forbade perform-
ances on Sundays or during the more sacred periods of the
Christian calendar l : another relaxed in favour of Christians
the strict caste laws which sternly forbade actresses or their
daughters to quit the unhappy profession in which they were
born 2 . Moreover, certain sumptuary regulations were passed,
which must have proved a severe restriction on the popularity
as well as the liberty of actors. They were forbidden to wear
gold or rich fabrics, or to ape the dress of nuns. They must
avoid the company of Christian women and boys. They must
not come into the public places or walk the streets attended
by slaves with folding chairs 3 . Some of the rescripts contain
phrases pointed with the bitterest contempt and detestation of
their victims 4 . Theodosius will not have the portraits of
scenici polluting the neighbourhood of his own imagines 5 . It
is made very clear that the old court favourites are now to
be merely tolerated. But they are to be tolerated. The idea
of suppressing them is never entertained. On the contrary
the provision of spectacula and of performers for them
remains one of the preoccupations of the government 6 . The
praetor is expected to be lavish on this item of his budget 7 ,

1 Spectacula are forbidden on the concessions, in the interest of

Sunday, unless it is the emperor's the public voluptates, but this may

birthday, by C. Th. xv. 5. 2 (386), have been only a temporary or local

which also forbids judges to rise measure.

for them, except on special occa- s C. Th. xv. 7. II (393) ; xv. 7. 12

sions, and C. Th. ii. 8. 23 (399)- (394) 5 xv. 13. i (396).

The exception is removed by C. Th. * C. Th. iv. 6. 3 (336) ( scenicae

ii. 8. 25 (409) and C. lust. iii. 12. 9 ... quarum venenis inficiuntur

(469). The Christian feasts and animi perditorum'; xv. 7. 8 (381),

fasts, Christmas, Epiphany, the of the relapsing scenica, l perma-

first week in Lent, Passion and neat donee anus ridicula, senectute

Easter weeks are added by C. Th. deformis, nee tune quidem absolu-

ii. 8. 23 (400) and C. Th. xv. 5. 5 tione potiatur, cum aliud quam

(425). According to some MSS. casta esse non possit.'

this was done by C. Th. ii. 8. 19 e C. Th. xv. 7. 12 (394).

(389), but the events of 399 recorded * C. Th. xv. 6. 2 (399) is explicit,

below seem to show that 400 is the * ludicras artes concedimus agitari,

right date. ne ex nimia harum restrictione

* C. Th. xv. 7. I, 2 (371) ; xv. 7. tristitia generetur.'

4 (380); xv. 7. 9 (381). Historians 7 C. Th. vi. 4. 2 (327) ; vi. 4. 4

have seen in some of these rescripts (339) ; vi. 4. 29 (396) ; vi. 4. 32 (397).

which are dated from Milan the It appears from the decree of 396

influence of St. Ambrose. C. Th. that the'theatralisdispensio' of the

xv. 7. 13 (414) seems to withdraw praetors had been diverted to the

THE FALL OF THE THEATRES 15

and special municipal officers, the tribuni voluptatum^ are
appointed to superintend the arrangements *. Private indi-
viduals and rival cities must not deport actors, or withdraw
them from the public service 2 . The bonds of caste, except
for the few freed by their faith, are drawn as tight as ever 3 ,
and when pagan worship ceases the shrines are preserved
from demolition for the sake of the theatres built therein 4 .

The love of even professing Christians for spectaczda proved
hard to combat. There are no documents which throw more
light on the society of the Eastern Empire at the close of the
fourth century than the works of St. Chrysostom ; and to
St. Chrysostom, both as a priest at Antioch before 397 and as
patriarch of Constantinople after that year, the stage is as
present a danger as it was to Tertullian two centuries earlier 5 .
A sermon preached on Easter-day, 399, is good evidence of
this. St. Chrysostom had been attacking the stage for
a whole year, and his exhortations had just come to nought.
Early in Holy Week there was a great storm, and the people
joined the rogatory processions. But it was a week of ludi.
On Good Friday the circus, and on Holy Saturday the theatre,
were thronged and the churches were empty. The Easter
sermon was an impassioned harangue, in which the preacher
dwelt once more on the inevitable corruption bound up with
things theatrical, and ended with a threat to enforce the sen-
tence of excommunication, prescribed only a few months before
by the council of Carthage, upon whoever should again ven-
ture to defy the Church's law in like fashion on Sunday or
holy day 6 . Perhaps one may trace the controversy which

building of an aqueduct ; they are sacrifice or superstition.
now to give 'scemcas voluptates* B A. Puech, St. Jean Chrysostome

again. Symmachus, Ef. vi. 42, et les Mceurs de son Temps (1891),

describes his difficulties in getting 266, has an interesting chapter on the

scenici for his son's praetorship, spectacula. He refers to Horn, in

which cost him ,80,000. They Matt. 6, 7, 37, 48 ; Horn, in loann.

were lost at sea ; cf. Dill, 151. 18 ; Horn, in Ep. I ad Thess. 5 ;

1 See Appendix A. Horn, de Dav. et Saut, 3 ; Horn, in

2 C. Th. xv. 7. 5 (380) ; xv. 7. IO Prtsc.etAguil.i,&:c. Most of these
(385) ; C. Just. xi. 41. 5 (409). works belong to the Antioch period ;

8 C. Th. xv. 7. 8 (381) ; xiv. 7. 3 cf. also Allard, i. 229. In de Sacer-

(412). dotio I, Chrysostom, like Augustine,

* C. Th. xvi. 10. 3 (346). But records his own delight in the stage

C. Th. xvi. 10. 17 (399) forbids as a young man.

' voluptates ' to be connected with 6 P. G. Ivi. 263.

16 MINSTRELSY

St. Chrysostom's deliverance must have awakened, on the one
hand in the rescript of the autumn of 399 pointedly laying
down that the ludicrae artes must be maintained, on the other
in the prohibition of the following year against performances
in Holy week, and similar solemn tides.

More than a century after the exile and death of
St. Chrysostom the theatre was still receiving state recog-
nition at Constantinople. A regulation of Justinian as to
the liidi to be given by newly elected consuls specified a per-
formance on the stage ominously designated as the 'Harlots' 1 .
By this date the status of the theatrical profession had at last
undergone further and noticeable modification. The ancient
Roman prohibition against the marriage of men of noble birth
with sccnicae or other infames or the daughters of such, had
been re-enacted under Constantine. A partial repeal in 454
had not extended to the sccnicae 2 . During the first half of
the sixth century, however, a series of decrees removed their
disability on condition of their quitting the stage, and further
made it an offence to compel slaves or freed women to per-
form against their will 3 . In these humane relaxations of the
rigid laws of theatrical caste has often been traced the hand of
the empress Theodora, who, according to the contemporary
gossip of Procopius, was herself, before her conversion, one of
the most shameless of mimes. But it must be noted that the
most important of the decrees in question preceded the acces-
sion of Justinian, although it may possibly have been intended
to facilitate his own marriage 4 . The history of the stage in

1 C. L C. Nov. lust. cv. I (536) sureties of actresses who hinder

' faciet processum qui ad theatrum them from conversion and quitting

ducit, quern pornas vocant, ubi in the stage. For similar legislation

scena ridiculorum est locus tragoe- cf. Nov. li ; Ixxxix. 15; cxvii. 4.

dis et thymelicis choris' ; cf. Chori- By Nov. cxvii. 8. 6 a man is per-

cius, Apology for Alimes, ed. Ch. mitted to turn his wife out of doors

Graux, in R. d. Philologie, i. 209 ; and afterwards repudiate her, if she

Krumbacher, 646. goes to theatre, circus, or amphi-

3 C. Th. iv. 6. 3 (336) ; C. lust, theatre without his knowledge or

v. 5. 7 (454). against his will.

* C. lust. v. 4. 23 (520-3) allows 4 Gibbon,, iv. 212, 516 (with
the marriage on condition of an Prof. Bury's additions) ; C. E. Mai-
imperial rescript and a dotale in- let in E. //. Kwirw, ii. i ; A. Debi-
strumentum. C. lust. i. 4. 33 (534) dour, L* Imptratrice Thtodora, 59.
waives the rescript. It also im- Neither Prof. Bury nor the editor
poses penalties on fideiussores or of the C /. C. accepts M. Debi-

THE FALL OF THE THEATRES 17

the East cannot be traced much further with any certainty.
The canons of the Quinisextine council, which met in the
Trullan chamber to codify ecclesiastical discipline in 692,
appear to contemplate the possibility of performances still
being given *. A modern Greek scholar, M. Sathas, has made
an ingenious attempt to establish the existence of a Byzantine
theatrical tradition right through the Middle Ages ; but
Dr. Krumbacher, the most learned historian of Byzantine
literature, is against him, and holds that, so far as our know-
ledge goes, the theatre must be considered to have perished
during the stress of the Saracen invasions which, in the
seventh and eighth centuries, devastated the East 2 .

The ending of the theatre in the West was in very similar
fashion. Chrysostom's great Latin contemporaries, Augustine
and Jerome, are at one with him and with each other in their
condemnation of the evils of the public stage as they knew it 3 .
Their divergent attitude on a minor point may perhaps be
explained by a difference of temperament. The fifth century
saw a marked revival of literary interests from which even
dignitaries of the Church did not hold themselves wholly aloof.
Ausonius urged his grandson to the study of Menander.
Sidonius, a bishop and no undevout one, read both Menander
and Terence with his son 4 . With this movement Augustine
had some sympathy. In a well-known passage of the Con-
fes