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
The central action of the play consists, then, in these two episodes
of the fight and the resurrection; and the protagonists, so to speak,
are the heroes--a ragged troop of heroes, certainly--and the Doctor.
But just as in the sword-dances, so in the plays, we find introduced,
besides the protagonists, a number of supernumerary figures. The nature
of these, and the part they take, must now be considered. Some of them
are by this time familiar. They are none other than the grotesques
that have haunted this discussion of the village festivals from the
very beginning, and that I have attempted to trace to their origin in
magical or sacrificial custom. There are the woman, or lad dressed in
woman’s clothes, the hobby-horse, the fool, and the black-faced man.
The woman and the hobby-horse are unmistakable; the other two are a
little more Protean in their modern appearance. The ‘Fool’ is so called
only at Manchester and at Brill, where he brings his morris-dance with
him. At Lutterworth he is the ‘Clown’; in Cornwall, ‘Old Squire’; at
Newbold, ‘Big Head and Little Wits.’ But I think that we may also
recognize him in the very commonly occurring figure ‘Beelzebub,’ also
known in Cornwall as ‘Hub Bub’ and at Chiswick as ‘Lord Grubb.’ The
key to this identification is the fact that in several cases Beelzebub
uses the description ‘big head and little wit’ to announce himself on
his arrival. Occasionally, however, the personality of the Fool has
been duplicated. At Lutterworth Beelzebub and the Clown, at Newbold
Beelzebub and Big Head and Little Wits appear in the same play[754].
The black-faced man has in some cases lost his black face, but he
keeps it at Bampton, where he is ‘Tom the Tinker,’ at Rugby, where he
is ‘Little Johnny Sweep,’ and in a Sussex version, where he is also a
sweep[755]. The analogy of the May-day chimney-sweeps is an obvious
one. A black face was a feature in the mediaeval representation of
devils, and the sweep of some plays is probably in origin identical
with the devil, black-faced or not, of others. This is all the more
so, as the devil, like the sweep, usually carries a besom[756]. One
would expect _his_ name, and not the Fool’s, to be Beelzebub. He is,
however, ‘Little Devil Dout’ or ‘Doubt,’ ‘Little Jack Doubt’ or ‘Jack
Devil Doubt.’ At Leigh Little Devil Doubt also calls himself ‘Jack,’
‘With my wife and family on my back’;
Public-domain text, read in full here on John Shaqi.
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