Representative English Comedies, v. 1. From the beginnings to Shakespeare — John Shaqi
Representative English Comedies, v. 1. From the beginnings to Shakespeare
General
Representative English Comedies, v. 1. From the beginnings to Shakespeare
English drama (Comedy)
Even though the sacred and traditional character of the biblical
narrative must have exercised a restraint upon the comic tendencies of
the cyclic poet not likely to have existed in the case of the writers
of saints' plays and single morals, still it is when he attempts
the comic that the cyclic poet is most independent. For as soon as
plays have passed into the hands of the gilds, the playwright puts
himself most readily into sympathy with the literary consciousness as
well as the untutored æsthetic taste of his public when he colours
the spectacle, old or new, with what is preëminently popular and
distinctively national. In the minster and out of it, all through
the Christian year, the townsfolk of York and Chester had as much of
ritual, of scriptural narrative, and tragic mystery as they wanted,
and probably more; when the pageants were acted, they listened with
simple credulity, no doubt, to the sacred history, and with a reverence
that our age of illumination can neither emulate nor understand;--but
with keenest expectation they awaited the invented episodes where
tradition conformed itself to familiar life,--the impromptu sallies,
the cloth-yard shafts of civic and domestic satire sped by well-known
wags of town or gild. Of the appropriateness of these insertions,
spectators made no question, and the dramatists themselves do not
seem to have thought it necessary to apologize for æsthetic creed or
practice. The objections thereto proceeded from the authorities of
the church, but the very tenor and tone of them are a testimony to
the importance attained by the comic element in the religious plays.
It is principally the "bourdynge and japynge" which attended the
"pleyinge of Goddis myraclys and werkes," that called forth the wrath
of the sermon that I have already cited from the end of the fourteenth
century.[31] And it was for similar reasons that Bishop Wedego ordered,
in 1471, the suppression of both passion play and saints' plays within
his continental diocese. In France, indeed, not only horse-play
characterized the performance of the mysteries, but absolutely
irrelevant farces invaded them, merely _afin que le jeu soit moins fade
et plus plaisans_.
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