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Cultural Perspective of the Saint Nicholas Miracle Play University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1960 Cultural perspective of the Saint Nicholas miracle play Mary Frances Jeske The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Jeske, Mary Frances, "Cultural perspective of the Saint Nicholas miracle play" (1960). Graduate Student Theses, Dissertations, & Professional Papers. 1958. https://scholarworks.umt.edu/etd/1958 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. A CDLTGRAL PEB*P*CIIVE OP TH% SAIBf NICHOLAS MimAGLE PLAY by NARY PRAPOES JISSI B.A. Nontmaa State Qnlverelty, 1 ^ 1 Presented in partial fulfillment of the requirements for # e degree of Master of Arts MOITASA STATE OEIVEESITY 1960 Approved by* M ailm an , Board o^ Examiners Dean, Oraiuale' SeiooF «fly 2 7 1560 b a t e ......... UMI Number: EP35791 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT DisMTtation PuUishing UMI EP35791 Published by ProQuest LLC (2012). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code uesf ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 PK&FJICE TImi Saint Nieholac miraol* play merit* far more con­ sideration than ha* been generally recognised* It is worthy of attention first as the earliest instanw now extant of a miracle play in Europe and secondly as a unique art form which may best be viewed in relation to the historical and cultural skovement of which it was an offspring. In preparing this study the writer found that from time immemorial the spell of the theater in all its forms has embraced a wide society of interests. This is particularly true of the medieval theater. As work on the thesis progressed, art, painting, sculpture, music, and the liturgy opened new vistas upon the colorful, moving pano­ rama of artisans, actors, monks, poets and peasants, cmeedians and saints, bishops and kings of the Middle Ages. The writer wishes to express her thanks to Miss Man C. Carpenter, Mr. Vedder M. Gilbert, and Mr. Robert M. Burgess for valuable assistance received. ii TABLE OF COBTSRTB F#g$ PWAG» % XBTB0DT7CTÎ0B *••••••«•«»»••••••••• 1 PART I. UTXX SAXRT RIC80LA8 PLAT ABO lACKOROOBOl TEES CLERiei Gh&pter I. HISTORICAL SORTIT . # . ......... 10 Dark Ag«s Irish snA AagXo*Saz(m Influsaet Carolinfisn Remalsssme# Simmmry II. FLKORT PLATB0ÔK ............ 17 Th# Msaussript The LsBgusge Th# tfosie III. COLT OP S A U T B I C 8 0 L A S ............... 23 Idf# leoBogrsphy IV. TRES cumiei .................... 31 Fro# L#g#m4s to Or### Through Itesie and Tors# Torslfloatioa Th### PART II. VmBAGOLAR SAIBT HICROLAS FLAT ABO BAcmRowo, m . M à i m m T. HISTORICAL SORTIT ............. 46 Th# City and Changing Conditions The Author and His Miliau Chapter Page VI. F O R M ............. 57 The Whale The Drama The Versifleatioa The Language Critical Evaluation APPENDIX .................. 72 BIBLIOGRAPHY .......... ........... ..... 7^ IRTRODBGTIG* When in th# #l#nd#r vol### by Father Harold Gardlner, S. J., Mrateri##» Jtod.^ appeared, it warn as though a final page had been penned on the history of the nedieral religions drama that had spanned five eentnries of western oivilisation. Yet the perennial vitality of the medieval religions play has sneeessfnlly engaged at least three die- tingmished soholars in England and America during the twen­ tieth century. Thus, we find models of vigorous literary studies and competent humanistic research in Church drama o of the Middle Ages in the works of Sir Edmund K. Chambers, Karl Young,^ and Hardin Craig, works deserving the highest praise, The significance of their accomplishments in this field can scarcely be exaggerated t one has only to become cognizant of the enormous gap in knowledge that existed ^Harold C. CaNiner# 8. J., Mysteries » Bhd (lew Raven* Yale Chiversity Press, 19W). , ^Wteund K. ^ambers,^|ht,.ltdiiftyja,. Ji M i (2 vols.; Oxford* Clarendon Press, I9O3T. Young, Thg Prgm.Cf. IkM ildifYi3i gfeaggJU (2 vois,; Oxford* Clarendon Press, 1933)# *%rdin Craigi iRgligl; RfUgltlH gPSBi (Oxford* Clarendon Press, 19??). 2 befor# the eontrlhutioa of these three eminent men to appre- elate the Importance of their vork.^ Previously In Bngland and America there had been little more than a flurry of Interest# In the mystery and miracle plays| nevertheless, a little before the opening of the present century Manly had been one of the earliest to recognise the need for accurate and extensive Information on vhat he considered an extremely interesting although little 6 recognized part of our literary heritage. Manly had set out with the preannouneed purpose of tracing the history of the drama on the Continent and In Bngland from the beginning 7 of thm tenth century to t M end of the sixteenth century. However, within a period of four years (1893~1@#7) Professor Manly had already found it advisable to expand the Initial plan of his now famous collection of pre-Shakespearean plays. This he felt was justified by the many new facts coming to light. Furthermore as he stated with sensitive Insight, "it seexwd not merely desirable, but even Impera­ tive, to illustrate certain phases of the early drama which % e e also L. Petit de Julleville, t o O volstî Paris. 1880)| Wilhelm Greizenach. B i i E p B Z t o J M a t - eren Dramas (2nd ed.^rev., 3 vols.; Halle, 1911*23)$ and S^ThlStre^RellgîëS^lîfïs^ h o J m M, Manly, § n s i m m , 9l Pra-jhftfepgpwffln PffiiMi (2 vois,; Bostont Athenaeum Press Series. 1897), I. Preface, passim* 3cl. 3 iiad in eoXlcetions of a aiaiXar charaoter elthar beam a#g~ Xeeted or not sharpXy defined agalnet the apparentXy moaoto* 8 none baokgronnd of medlaevaX dramatic art* This desire for clarification was soon to become even more sharply focused In the scholarly attempt to n a w and define the classes of medieval drama These motives alone would surely have been sufficient reason for undertaking the publication of a volume m the medieval religious plays just beginning to emerge from the hazy background beneath the mist of centuries* Yet Nanly's perspicuity wisely Included a third aspect that has become Incorporated In varying degrees In all the later publications. Even before the Church drama could clearly be seen as a defi­ nite form with a development of Its own and even before modem scholarship had revealed a more objective picture of the exuberant nature of the Middle Ages than W&e widely accepted opinlm at the time of Msnly’s writing. Manly had the keenness to realize that a different kind of annotatlcm would be needed from that previously In evidence If the pro­ posed volumes were to provide "an effective Introduction to » V* î * A..SffBftmte. thf of the Miracle Play (Menashai Seorge Santa, 191%). an art a# apaeieat and as hoapltabla as the mediaeval 1Ô Chnreh** the new writing waa intended "to render intelli* gihle and vital to the atndent forma of art ao different from onra in aim, in apirit, in method, in eonventiona, and in 11 material aooeaaoriea. Time haa aeeentnated the diatanee in attitude between modem and medieval man, and the need voieed by Manly ia atill more inalatent today, ffevertheleaa, great atridea have been made to narrow the gap. The brilliant work that Karl Xonng waa later to aeeo^pllah in hia ayatematie atndy of the atruo* tnre and development of medieval drwma oould not, of eourae, have been enviaimed in Manly*a early pnblieation. Mor eonld 7oimg*a endeavor have aneeeeded ao effeotively, one feela, without the aeholarly impetua of Sir Edmmd Chambera, %Ao viewed the medieval d m m a for the paradox that it waa* a paradox of life and death, a time of the aneient olaaaieal drama, preaimably dead, for aeveral hundred yeara while (%riatianity and barbarianiam faoed the ehallenge of the making of Europe after the eollapae of the Roman Bapire, a period leading to "a moat aingular new birth of the drama in ^®Manly, gj&., I, p. v. lllbid. 5 12 the v#yy We t m of th# Chtifeh*# own ritual." Hotlag them# singular oiroumatamo## from #iioh modem drama originated* Chambers did not hesitate to plaee these beginnings within the Mass and the W^fiee of the ^mreh in the liturgieal eelebrations for Easter and Christmas, Chambers* volumes on the medieval stage have been well reeeived and merit for him the title affeetionately bestowed» "master of dramatie history"^^ they eontinue to be indispensable in any study of the medieval religious play. Although Chambers did in faot unquestionably isolate the Church drama as a separate fom» he was primarily inter* ested in exploring the soeial and economic background of the medieval stage, R w colorful pageant of the Middle Ages attracted him» and he followed with eager eye and ear where singing jongleurs and dancing merrymakers beckoned; in doing so he exposed, almost as a by-product of his primary inten­ tion» a portion of the tangled root from which the history of Church drama grew.
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