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
vent in other of the winter rejoicings. Nor was it the _triduum_ alone
which afforded its opportunities. More rarely the performances of the
_Pastores_ on Christmas day itself[1198], or the suppers given by the
great officers of cathedrals and monasteries, when they sang their
‘_Oes_,’ on the nights between December 16 and Christmas[1199], were
the occasions for excesses which called for reprehension.
Already, when Conrad visited St. Gall in 911, the third feast of the
_triduum_ was the most interesting. In after years this reached an
importance denied to the other two. The Vespers procession was the
germ of an annual rejoicing, secular as well as ritual, which became
for the _pueri_ attached as choir-boys and servers to the cathedrals
and great churches very much what the Feast of Fools became for the
adult inferior clergy of the same bodies. Where the two feasts were not
merged in one, this distinction of _personnel_ was retained. A good
example is afforded by Sens. Here, from the middle of the fourteenth
century, the chapter accounts show an _archiepiscopus puerorum_ side by
side with the _dominus_ of the Feast of Fools. Each feast got its own
grant of wine from the chapter, and had its own prebend in the chapter
woods. In the fifteenth century the two fell and rose together. In the
sixteenth, the Feast of Boys was the more flourishing, and claimed
certain dues from a market in Sens, which were commuted for a small
money payment by the chapter. Finally, both feasts are suppressed
together in 1547[1200]. It is to be observed that the original
celebration of the Holy Innocents’ day in the western Church was not of
an unmixed festal character. It commemorated a martyrdom which typified
and might actually have been that of Christ himself, and it was
therefore held _cum tristitia_. As in Lent or on Good Friday itself,
the ‘joyful chants,’ such as the _Te Deum_ or the _Alleluia_, were
silenced. This characteristic of the day was known to Belethus, but
even before his time it had begun to give way to the festal tendencies.
Local practice differed widely, as the notices collected by Martene
show, but even when John of Avranches wrote, at the end of the eleventh
century, the ‘modern’ custom was to sing the chants[1201].
Public-domain text, read in full here on John Shaqi.
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