Shakespeare and the Stage With a Complete List of Theatrical Terms Used by Shakespeare in His Plays and Poems, Arranged in Alphabetical Order, & Explanatory Notes

Forsideomslag
Library of Alexandria, 28. sep. 2020 - 406 sider

The beginning of the English drama dates from a late period in the history of this country. Until the reign of Elizabeth, dramatic literature was really non-existent. During the Middle Ages, the religious drama held complete sway over the populace, producing such an abiding effect that no other kind of performance was tolerated. In England the first germs of a dramatic nature emanated from the church, chiefly in connection with the festival at Eastertide. At this time of the year the ritual was solemnized in a highly theatrical fashion. Processions marched round the sacred edifice, various scenes from the Gospels were introduced, accompanied by music and song. The festivals of Christmas and Corpus Christi were observed with great enthusiasm, sacred episodes taken from church history were acted with such fervour and ecstasy that the congregation remained spellbound during the service.

The next development in the evolution of the drama is the representation of the liturgical play, written in Latin, gradually being superseded by the religious play written in the vernacular; the scenes depicted consisted chiefly of episodes in connection with the Birth of the Saviour, also of events narrating the Lives of the Saints, together with other legendary characters.

All these scenes were called Miracle Plays, a name by which in this country all religious dramas were known, regardless of the origin of their source. In course of time these first offshoots of the ordinary service had grown to such dimensions that it was found impracticable that these spectacles should be presented inside the church, consequently, a larger space outside was deemed more convenient, but still remaining within the precincts. Even this innovation was not entirely successful, as the ground allotted for the performance was not extensive enough for the numerous throng that assembled on these occasions. Then a further step was taken by transferring the scene of action from the sacred precincts to the open spaces within the town. The development of the drama was greatly accelerated by this innovation. During the period that these plays formed part of the religious service, the clergy only were allowed the privilege of assuming the different characters, but when spectacular episodes were added to the ordinary ritual they became secularized by calling in the aid of the various guilds, assisted by professional entertainers. By these means the plays gradually lost their religious significance, finally being regarded as a popular form of amusement. By an act of Pope Gregory in 1210, the priests were forbidden to officiate in these interludes in any capacity, even if held inside the church. After the act had been confirmed by the Council of Trent in 1227, the clergy were strictly prohibited from joining the open-air performance.

The important Festival of Corpus Christi, founded by Pope Urban IV in the year 1264, was ratified years later by the Council of Vienne strictly enforcing its celebration. In England this very Corpus Christi day was, above all others, chosen for the representation of important plays composed in dramatic form chiefly from events connected with the religious history of the civilized world. There are extant several groups of plays which, during the Middle Ages, were regularly performed before appreciative audiences. Four of these “cycles” as they were termed, namely, the York, Townley, Chester, and Coventry plays, have been published and edited by competent scholars. The York cycle contains forty-eight pieces, most of which are derived from biblical subjects. These plays were written during the fourteenth century, and were acted by members of the different guilds.

In the “Ordo Paginorum” of 1415 a detailed list is given of the whole forty-eight interludes. “The order of the Pageants of the Play of Corpus Christi in the time of the mayoralty of William Alne, in the third year of the reign of Henry V, anno 1415, compiled by Roger Burton, town clerk.”

Forty-eight different Companies took part in this pageant, commencing with the Tanners and ending with the Mercers. These crude compositions were still being exhibited during the greater portion of Shakespeare’s lifetime; their total suppression followed in the first decade of the seventeenth century. Although these plays continued until so late a date, signs of their waning interest were apparent in the last quarter of the sixteenth century, when a more ambitious type of drama gradually superseded the old Morality play. The New Comedy displays more inventive genius in dramatic construction, together with greater skill in treating the literary dialogue, and a wider sympathy and ingenuity in the development of character, thus appealing to a more educated section of the public. The first real comedy written in the English language is entitled “Ralph Roister Doister,” and was composed about the year 1550. By this composition an enormous stride in advance was made compared with earlier dramatic pieces.

Many of the characters are moulded on classical models, whilst others still bear traces of an allegorical nature. Other plays quickly followed based on similar types. The first English tragedy called “Gorboduc or Ferrex and Porrex,” produced about this period, was likewise founded on classical lines. Henceforth the Miracle play was doomed, and hereafter budded forth a new drama, the full blossom thereof culminating in the immortal works of William Shakespeare.

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