MIRACLE PLAYS. The earliest dramatic representations of religious themes grew up within the Church itself. At certain seasons of the year, tableaux of gospel scenes were shown to the people, a practice which still survives in the representations •of the Nativity in modem Catholic churches. The introduction of action and music into these tableaux is easy to under stand, particularly in view of the dramatic ele ments in the celebration of the Mass, and in the ritual for special occasions, like the consecration of a church. Tropes or simple texts set to music were added to the regular service, and gave a further opportunity for dramatic scenes. In time these tropes grew more elabo rate, passages in the vernacular were intro duced and popular elements not taken from the Bible were added. Meanwhile, the little plays, which in the beginning had been given in the choir, were transferred to the nave, and set up against the pillars. So popular did these representations become, and so great was the concourse of spectators, that a move outside the building into the churchyard had to be made. Secular elements crept in very rapidly, and the plays were finally transferred to open spaces in the cities and towns. The liturgical drama reached its height in the 13th century; by the beginning of the 14th century it had largely passed out of the hands of the clergy, although representations continued to be given in many churches.
The growth of the miracle play in England is dui to the influence of the Normans. There are almost no evidences of dramatic impulse in England before the Conquest. The earliest play of which there is mention by name is a (Play of Saint Katherine,' at the beginning of the 12th century, produced under the direction of a Frenchman who afterward became abbot of Saint Albans. To the same century belongs the work of Hilarius, a pupil of Abelard, and per haps of English birth. He wrote Latin plays on subjects taken from the Scriptures, and di versified them With refrains in Old French. It seems probable that French plays may have been acted in England at this time, but none are extant.
The term ((miracle play" is properly applied to the religious plays which developed in Eng land out of liturgical beginnings. They have sometimes been called amysteries,pbut this term, which is more generally and rightly used of pro ductions in France, does not antedate the 18th century in England, the mediaeval name being miraculuen, or miracle. A great impetus was given to the plays by the institution of Corpus Christi Pay, with its elaborate processions and outdoor ceremonial, and many came to be pre sented at this season, when the conditions of weather were likely to be favorable. In time the procession served as a mere preliminary to the dramatic performances to follow. A desire
for more elaborate stage effects and a greater number of incidents within the plays was con stantly increasing, until there developed out of the relatively simple early pieces long groups of plays of cyclic character, covering the prin cipal events of the Scripture narrative, in both the Old and the New Testament. The series given at York in 1415 begins with the Creation, and ends with the glorification of Mary and Jesus in heaven, embracing 48 separate pieces in all. These cycles were often not all given on one day, but extended over two or more days, or they were divided, and presented in succeeding years.
After leaving the churches, the plays soon passed into the hands of the guilds, or associa tions of tradesmen. In the 13th century clerics were forbidden by papal edict to appear on the stage, but these prohibitions were frequently disregarded. The control of the plays by the guilds marks a period of great importance in the history of the English drama. Much care was devoted to the production and acting of the various pieces. The corporation of the city had general charge of the matter, deciding when the performances should be given, and dividing the various scenes among the several companies. An effort was made to have the play suit the character of the guild that gave it; the shipwrights showed the building of the Ark, the waterman the Flood, and so forth. The plays were given on movable stages called pageants, which consisted of "high scaffoldes with two rowmes,D one beneath which was used as a dressing-room, and one above, open on all sides to give a better view, and occasionally provided with a canopy. These wagons moved from place to place, repeating the performance at different stations. The number of these sta tions varied with the size of the town; there were sometimes a dozen or more. The pageant wagons were gaily painted and decorated. They were generally rectangular, but special shapes were required for the Ark, or for Hell-Mouth, a huge painted head with open jaws belching fire and smoke. The scenery was of a rude sort. Palaces, temples and castles were some times represented by boxes or wickerwork covered with cloth. Occasionally the actors made use of the open space in front of the pageant; Herod's "raging" appears to have been partly done in the street. The costumes were often expensive, but frequently grotesque. Herod was attired like a Saracen, with red gloves. Pilate always wore.a green cloak and wielded a huge club. God the Father was rep resented in person, and dressed all in white, with a gilt wig. The devils and the Evil One were made very realistic, and came to furnish a great deal of low comedy. Various accounts of sums paid for properties and costumes are still preserved.