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 winter festival is thus, like the summer festivals, a moment in the
cycle of agricultural ritual, and is therefore shared in by the whole
village in common. It is also, and from the time of the institution
of harvest perhaps preeminently, a festival of the family and the
homestead. This side of it finds various manifestations. There is the
solemn renewal of the undying fire upon the hearth, the central symbol
and almost condition of the existence of the family as such. This
survives in the institution of the ‘Yule-log,’ which throughout the
Germano-Keltic area is lighted on Christmas or more rarely New Year’s
eve, and must burn, as local custom may exact, either until midnight,
or for three days, or during the whole of the Twelve-night period,
from Christmas to Epiphany[928]. Dr. Tille, intent on magnifying the
Roman element in western winter customs, denies any Germano-Keltic
origin to the Christmas blaze, and traces it to the Roman practice of
hanging lamps upon the house-doors during the _Saturnalia_ and the
Kalends[929]. It is true that the Yule-log is sometimes supplemented
or even replaced by the Christmas candle[930], but I do not think that
there can be any doubt which is the primitive form of rite. And the
Yule-log enters closely into the Germano-Keltic scheme of festival
ideas. The preservation of its brands or ashes to be placed in the
mangers or mingled with the seed-corn suggests many and familiar
analogies. Moreover, it is essentially connected with the festival fire
of the village, from which it is still sometimes, and once no doubt was
invariably, lit, affording thus an exact parallel to the Germano-Keltic
practice on the occasion of summer festival fires, or of those built to
stay an epidemic.
Another aspect of the domestic character of the winter festival is
to be found in the prominent part which children take in it. As
_quêteurs_, they have no doubt gradually replaced the elder folk,
during the process through which, even within the historical purview,
ritual has been transformed into play. But St. Nicholas, the chief
mythical figure of the festival, is their patron saint; for their
benefit especially, the _strenae_ or Christmas and New Year’s gifts are
maintained; and in one or two places it is their privilege, on some
fixed day during the season, to ‘bar out’ their parents or masters[931].
Public-domain text, read in full here on John Shaqi.
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