A Theatrical Miracle: the Boxley Rood of Grace As Puppet
Early Theatre 10.2 (2007) LEANNE GROENEVELD A Theatrical Miracle: The Boxley Rood of Grace as Puppet In 1538, during the early days of the reformation in England, a miraculous crucifix owned and displayed by the monks of Boxley Abbey, located near the town of Maidstone in Kent, was examined by a commissioner of the English church and declared to be a fraud. A number of accounts, most second- hand, of the ‘discovery’ and destruction of this allegedly fraudulent miracu- lous crucifix survive. In these accounts, descriptions of the Rood’s powers range from the simple—the ability to move its eyes and to open and shut its mouth—to the elaborate and fantastical—the ability to weep, to bite its lip, to frown, to smile, to foam at the mouth, to nod its head, to bow itself down, to lift itself up, and (it is implied) to perform sexual acts. Every account takes for granted that these movements were effected by a human operator and further that this operator was concealed from the many pilgrims who flocked to the abbey because they assumed naïvely, even ignorantly, that the Rood’s movements were effected by God. In his recent study Magic on the Early English Stage, Philip Butterworth introduces his chapter on mechanical images, automata, puppets, and mo- tions—of which he offers the Boxley Rood as example—by describing what he considers to be the two possible functions of these devices and the two possible objectives of the agents who manipulated them or set them in mo- tion. It appears that Butterworth is concerned to establish clear categories: he begins by distinguishing the puppet from the automaton and ends by dis- tinguishing the theatrical and representative from the magical and deceptive: Mechanical means [of movement of an image] may be said to fall into two cat- egories: one, in which the movement is started and left to run its course, i.e.
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