The mediaeval stage, volume 1 (of 2)Chambers, E. K. (Edmund Kerchever)
History
The mediaeval stage, volume 1 (of 2)
Chambers, E. K. (Edmund Kerchever)
Drama, Medieval -- History and criticism; Theater -- History -- Medieval, 500-1500
In all these cases, even where the significant whipping or sprinkling
is absent, the meaning is the same. The binding with ropes, the loss
of the shoes, the lifting in the air, are symbols of capture. And the
capture is for the purposes of sacrifice, for which no more suitable
victim, in substitution for the priest-king, than a stranger, could be
found. This will, I think, be clear by comparison with some further
parallels from the harvest field and the threshing-floor, in more
than one of which the symbolism is such as actually to indicate the
sacrifice itself, as well as the preliminary capture. In many parts
of England a stranger, and sometimes even the farmer himself, when
visiting a harvest field, is liable to be asked for ‘largess’[525]. In
Scotland, the tribute is called ‘head-money,’ and he who refuses is
seized by the arms and feet and ‘dumped’ on the ground[526]. Similar
customs prevail on the continent, in Germany, Norway, France; and the
stranger is often, just as in the ‘hocking’ ceremony, caught with
straw ropes, or swathed in a sheaf of corn. It is mainly in Germany
that the still more elaborate rites survive. In various districts
of Mecklenburg, and of Pomerania, the reapers form a ring round the
stranger, and fiercely whet their scythes, sometimes with traditional
rhymes which contain a threat to mow him down. In Schleswig, and
again in Sweden, the stranger in a threshing-floor is ‘taught the
flail-dance’ or ‘the threshing-song.’ The arms of a flail are put round
his neck and pressed so tightly that he is nearly choked. When the
madder-roots are being dug, a stranger passing the field is caught by
the workers, and buried up to his middle in the soil[527].
The central incident of ‘hocking’ appears therefore to be nothing but
a form of that symbolical capture of a human victim of which various
other examples are afforded by the village festivals. The development
of the custom into a play or mock-fight at Coventry may very well
have taken place, as the town annals say, about the beginning of the
fifteenth century. Whether it had previously been connected by local
tradition with some event in the struggles of Danes and Saxons or not,
is a question which one must be content to leave unsolved. A final
word is due to the curious arrangement by which in the group of customs
here considered the rôles of sacrificers and sacrificed are exchanged
between men and women on the second day; for it lends support to the
theory already put forward that a certain stage in the evolution of the
village worship was marked by the merging of previously independent
sex-cults.
CHAPTER VIII
THE MAY-GAME
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