Marionettes, masks and shadows

John Stuart Mill · en
Let us see how pantomime, music, and dance were used in the Christmas
mask described at the end of chapter II “Occasions for Wearing the
Mask.” Masks for this play had been made for the following characters: a
dignified king, a mournful queen, a gentle lady-in-waiting, an austere
learned bishop, a faithful son, a clever jester, a rollicking band of
mummers. Each pupil had made his own mask after very thorough study of
the character that he had chosen. Knowing his character well enabled
each student to interpret that character when he put on his mask, and
for the time of the play, each student sought to become that character,
king, queen, bishop, or mummer. The problem for each actor was that of
bringing his movements and gestures into harmony with his mask. The
king’s movements should be no less dignified and stately than his mask
suggested. The unhappy queen must express the sadness of her mask by her
drooping head and shoulders and by her impassive hands. Her mask was so
modeled that when lifted, it suggested a smile. This expression was
required when she lifted her head in joy at her son’s return.

The lady-in-waiting used pantomime to interpret her gentleness and
modesty and the music which accompanied her XIIIth Century song. This
song, sung off stage by one of the chorus, was singularly appropriate to
the pensive quality of her mask.

                         LADY-IN-WAITING’S SONG

                 Though the winter be a-cold
                 Safe the lamb lies in the fold
                   Roses red are sleeping
                 ’Neath the brown earth deep and warm.
                 Spring at last with winter’s storm
                   Steals now so gently creeping.

                 Soon the rose will bloom and blow,
                 Soon the birds sing loud and low.
                   Love hath breathed not coldly.
                 Deep in dungeon underground,
                 Love the knight hath fastly bound.
                   To these he strideth boldly.

                 Thou bereft and all alone
                 By our Lady Mary’s Son,
                   Weep ye not so sadly!
                 Of his true love, found again
                 Never knight was half so fain.
                   Look! now He cometh gladly.

The jester used pantomime in his dance. His inspiration for his poses
came from the illustrations in old manuscripts and reproductions of old
manuscripts. He sketches these, and then, assisted by a teacher who
understood folk dancing, he worked out every step and pose to the music
of this, his song:

                          JESTER’S SONG

                  Here am I, the Count’s good fool.
                    (Ch.) Aye, aye, ah.
                  Laughter is my only rule.
                    (Ch.) Aye, aye, ah.
                  Tears alone do wake my rage.
                    (Ch.) Aye, aye, ah.
                  With a smile I gain my wage.
                    For jollity am I a page.