New Site Announcement: Over the past several years, the METS team has been building a new website and new digital edition, in collaboration with Cast Iron Coding. This next phase of METS' editions includes improved functionality and accessibility, an increased focus on transparency, and conformity to best practices for open access and digital editions, including TEI markup. We are currently in a "soft launch" phase in which we will monitor the new site for bugs and errors. We encourage you to visit our new site at https://metseditions.org, and we welcome feedback here: https://tinyurl.com/bdmfv282
We will continue to publish all new editions in print and online, but our new online editions will include TEI/XML markup and other features. Over the next two years, we will be working on updating our legacy volumes to conform to our new standards.
Our current site will be available for use until mid-December 2024. After that point, users will be redirected to the new site. We encourage you to update bookmarks and syllabuses over the next few months. If you have questions or concerns, please don't hesitate to contact us at robbins@ur.rochester.edu.
We will continue to publish all new editions in print and online, but our new online editions will include TEI/XML markup and other features. Over the next two years, we will be working on updating our legacy volumes to conform to our new standards.
Our current site will be available for use until mid-December 2024. After that point, users will be redirected to the new site. We encourage you to update bookmarks and syllabuses over the next few months. If you have questions or concerns, please don't hesitate to contact us at robbins@ur.rochester.edu.
Play 30, The First Trial before Pilate
Play 30, THE FIRST TRIAL BEFORE PILATE: FOOTNOTES
2 To obey your command to proceed (go) from you I prepare myself
3 Pay attention to my command, do not deviate
4 But see that you don’t anger me with your handling, but touch me gently
5 She asks attention to that true man, with affliction not to be entrapped
6 Do cease of your speaking, and I shall examine very carefully
7 These lords, they allege that you wish not to live by our laws (customs)
Play 30, THE FIRST TRIAL BEFORE PILATE: EXPLANATORY NOTES
ABBREVIATIONS: AV: Authorized (“King James”) Version; Meditations: Meditations on the Life of Christ, trans. Ragusa and Green; MED: Middle English Dictionary; OED: Oxford English Dictionary; RB: Richard Beadle, ed., York Plays; REED: Records of Early English Drama; YA: Davidson and O’Connor, York Art; York Breviary: Breviarium ad usum insignis ecclesie Eboracensis; York Missal: Missale ad usum insignis ecclesiae Eboracensis.
References to the Ordo paginarum are to REED: York, 1:16–27.
The most noteworthy aspect of the dramatization of the initial trial before secular authority is perhaps the addition to the story of Pilate’s wife Procula, here called Percula, derived from a single brief biblical reference (Matthew 27:19) and given extensive treatment in the Middle English Gospel of Nicodemus.1 This material seems not to have been part of the Tapiters and Couchers’ play at the time the Ordo paginarum was compiled, and the differences in versification noted by Richard Beadle and others suggest stages of composition,2 though the presence of the long alliterative line is maintained. Thus the entire drama must be later than the Ordo paginarum, and probably was written at least in part at about the same date as the previous pageant and others in the Passion series with similar use of the alliterative line, which here falls into nine-line stanzas but with differing rhyme. Lineation and the frequent errors in the text have necessitated considerable editorial attention, and in this the early edition of Lucy Toulmin Smith as well as the more recent work of Richard Beadle must be acknowledged. Nevertheless, the writer of the pageant has been admired for his skill in dramatizing the episodes included by him in the pageant and for making them come to life.3 The scenes with Percula, leading up to her dream in which the devil tempts her (a parallel that quite deliberately is intended with the temptation of Eve, a connection noted by Woolf as deriving from the Glossa Ordinaria),4 are particularly vivid. The trial itself likewise is a complex presentation designed to make the events believable as part of the collective memory. The trial certainly suggests considerable familiarity with the legal system and common-law criminal trials.5 King identifies the procedure from a legal standpoint as summary justice existing outside of the usual order of statute law.6 In general, there is careful attention to detail and argumentation, even in the monologues of Pilate and the devil, as has been noted by Hans-Jürgen Diller.7 The guilds that produced the play also, on account of their work in making ornamented cloths and bed covers, would have been able to add substantially to the visual effect of the pageant.
1–27 The ranting introduction and self-flattery of the Roman procurator distinguishes him as a bragging tyrant, historically a brutal enforcer of Roman rule. Here he is characterized by two of the Seven Deadly Sins — i.e., Pride and Wrath — in his attitude toward potential challengers (see Mussetter, “York Pilate”). He holds up a sword, a symbol of his authority, to threaten his audience, but his tone changes abruptly at lines 25–27 when his wife appears. Other complexities in Pilate’s character appear in the course of the pageant; he is anxious to maintain justice, but ultimately as a politician he will of course fail to do so under pressure. For Pilate’s parentage, see also the Stanzaic Life, p. 219.
37–45 Percula (identified in the speech tags as Uxor or Domina) describes herself as dame precious and the prize of princes and thus is a parody of the vain stereotypical woman. Presented in terms familiar in medieval anti-feminist discourse, she is dressed “in richesse of robis” that would likely have been extravagant to the extreme and hence probably ridiculous. What follows is a parody of a love scene, interrupted by Bedellus. It is to be expected that she was played by a young, fair-faced boy.
59 howe you javell jangill of Jewes. Disappointed and angry about the interruption, Percula engages in highly indecorous conduct, in this serving as a reminder of her perverse role — perverse as was Eve’s in the Garden, for, as noted above, she will be seduced by the devil in her dream to attempt to prevent the sacrifice of Christ on the cross. The present scene presents her as utterly self-centered and as a sex object, suggesting the sin of Luxuria or Lechery.
73–85 The description of the sun descending toward sunset is a purple patch, leading up to the suggestion that Percula should leave her husband’s court and go home to their dwelling. A curfew is specifically applied to her, here defended by the claim that she might “stakir in the strete” (line 85). Curfews were the rule in medieval York, and, with streets being dark and unlighted, it is not unreasonable that she should have been expected to be safely at home. But it will emerge that Pilate will have work to do as a judge, a role that was a male prerogative.
93b with wynne ye had wette yowe. They must have a drink of wine before she leaves, suggesting another of the deadly sins, Gluttony. Indeed, the scene reaches the height of ridiculousness when Pilate praises Percula at line 109 as the “fayrest figure that evere did fode fede.”
118 telle me yf any tythyngis betyde. Pilate is a jealous husband and wants his wife watched. This introduces another of the deadly sins, since jealousy is a species of Envy.
127–39 to bedde that I wer broght . . . me nere. Having “wette . . . with wyne” (line 135b), Pilate is clearly drunk and, as the preceding half-line shows, he is overweight. He will allow no noise or interruption, thus making way for a change of scene to Domina/Uxor, Percula’s maid, and his son, who organize her going to bed, necessary if she is to dream.
158a Owte owte, harrowe! Extrametrical, here added to the first half of line 158. A noisy entry, with the sleeping lady nearby. The devil’s gestures are invariably indecorous and exaggerated.
162 And he be slone, oure solace will sese. Diabolus’ fear is that Jesus, through his sacrifice on the cross, will take away the captives who sit in darkness in his den, which is hell. He will lose his rights to those who have died and are now in his custody. His “solace” comes from tormenting and denying solace to his prisoners.
163 He will save man saule fro oure sonde. Ironic, since hell is hardly a place of safekeeping.
167–75 Percula’s dream, the devil speaking directly to her in her sleep. His appeal to her is directed to her wealth, position, and fear of deprivation. The deadly sins of Pride and Covetousness are invoked.
176 I am drecchid with a dreme. Compare the Middle English Gospel of Nicodemus: “I have ben dreched with dremes so / all this nyght” (p. 35). She is affected, as Eve was, by the devil, and will do his bidding; she will send her lazy son, who is very unwilling to go to her husband at this time since he does not want to rise from sleep at this midnight hour.
196 Sir Cayphas . . . this caytiffe we have cached. Anna is speaking, and since he is a new arrival in this pageant — and a different actor than the one playing Anna in the previous pageant — he will address Caiphas by name, as the latter will also address Anna by name in the next speech. They have Jesus in their custody when they arrive at Pilate’s hall where they will charge him with capital offenses, but also they seem to be enjoying the “sporte” (see line 205) of so doing even though they are consumed by anger.
206 I am pontificall prince of all prestis. Caiphas’ position is high priest of the Temple for the year.
214 rugge hym in ropes. The dragging of Jesus, passive as a lamb (for he is the Lamb of God), becomes progressively more cruel and inhumane. Marrow quotes Ludolphus of Saxony’s Vita Christi, 2:61, concerning the way he is led to Pilate “to be devoured by the wicked judge as by a mad dog [rabido cani]” (Passion Iconography, p. 36). In line 222, the term “hurled,” signifying violent action (MED), is used to describe the manner of dragging him, and the second soldier has indicated that they will “pulle on with pride till his poure [strength] be paste” (line 218). Anna will also use the term “drawe” (line 227b), which might have the connotation of drawing either to execution or to death by being pulled apart, for which usage see Play 32, lines 230–31. See also Filius’ statement in line 391: “No ruthe were it to rug thee and ryve thee in ropes.” In Love’s Mirror he is said to have been “ladde as a thefe” (p. 169).
223 he stonyes for us, he stares where he standis. Embedded stage direction, and also one of the indications that the bullying soldiers consider him to be a fool for his passivity.
233b may rayse with oure rolyng. The soldiers with Jesus make a considerable ruckus; their agitation would perhaps have been described in contemporary terms as “riot.”
263a am I light as a roo. Pilate has sobered up.
269 stronge in youre state for to stande. That is, in the dock.
275 to the benke. To the bench for a legal proceeding or trial, but Caiphas and Anna explain that as priests of the Temple they cannot enter a secular court (line 278). Their involvement in a capital case would be a violation of British law; see Tiner, “English Law,” pp. 146 and 149 n. 28, citing William Lyndwood, Provinciale (1689), 3:29.
280–90 Filius arrives with his message from Pilate’s wife concerning her “swevene” relating to Jesus, whom she hopes to save from execution.
312–15 The Beadle, recalling the veneration extended to Jesus on Palm Sunday, must bow and kneel and worship Jesus. This will be dismissed by Jesus’ accusers and tormentors. At lines 338–46, the Beadle returns to his Palm Sunday experience, when he saw the crowd singing psalms and venerating him.
361 Pilate takes up his role as examiner, with Anna and Caiphas as accusers.
392–93 Why falles thou noght flatte here . . . / For ferde of my fadir so free? Jesus remains upright and does not bow, kneel, or fall down here, nor does he acknowledge Pilate’s authority in any way.
402 of a payne, and appere. Jesus is being summoned to the bar, where he will be accused by the priests from the Temple. They will present the charges, which are so flimsy that Pilate is not impressed. As Pilate notes, their allegations have no merit.
509 fro Galely. Pilate’s discovery that Jesus comes from Galilee allows him to evade making a judgment, since this is a region under the jurisdiction of King Herod (see Luke 23:6–8). Jesus will be passed on, again being dragged to his next location. In the pageant, this could have involved dragging him from one station to the next where this play will be repeated.
Play 30, THE FIRST TRIAL BEFORE PILATE: TEXTUAL NOTES
ABBREVIATIONS: Bevington: David Bevington, ed., Medieval Drama (1975); Köbling: E. Köbling, “Beiträge zur Erklärung und Textkritik der York Plays”; LTS: Lucy Toulmin Smith, ed., The York Plays (1885); RB: Richard Beadle, ed., The York Plays (1972) (incorporating numerous emendations from other sources); RB2: Richard Beadle, “Corrections to The York Plays,” in Gerald Byron Kinneavy, A Concordance to the York Plays (1986), pp. xxxi–xxxii; s.d.: stage direction; Sykes: A. C. Cawley, ed., “The Sykes MS of the York Scriveners’ Play”; Towneley: Martin Stevens and A. C. Cawley, eds., The Towneley Plays.
The base text for this edition is London, British Library, MS. Add. 35290, called the “Register” in the York civic records and here identified by the abbreviation Reg. Some variations in lineation from the manuscript are not noted here; see RB and Beadle and Meredith’s The York Play: A Facsimile. In most cases the line numbering in the present text is consistent with RB. Lineation of alliterative verse throughout is based on Reg, with line numbering adjusted accordingly to account for half lines. Scribes are identified as follows: Scribe A; Scribe B: main scribe; JC: John Clerke; LH: later scribal hand (unidentified).
7 wrekis. So LTS, RB; Reg: werkis.
9 trewys. Reg: final s added by LH.
13 plight. So RB; Reg, LTS: pight.
22 ther. So RB; Reg, LTS: the.
23–24 Lines reversed in Reg.
28 UXOR PILATI. Entered twice in Reg; also Uxor Pilaty at line 30.
34 troned. So RB; Reg, LTS: stonyd.
46a itt may. So RB; LTS, Reg: itt save may.
62–63 Lineation here follows LTS, RB.
70a wele. Moved from line 70b in Reg.
75–76 As three lines in Reg. Realigned following LTS.
79 deme. So RB; Reg, LTS: dome.
85 Following line is missing in Reg.
90 for thee. This edition; LTS, RB: forthe.
92a a repreve. So RB, following Köbling; Reg, LTS: appreve.
97 Loke, nowe. So LTS, RB; Reg: Loke, what dose thou have done nowe.
97–98 Lineation follows LTS, RB.
107 Two lines following are missing in Reg.
112 here is. So RB; Reg, LTS: he this.
115 FILIUS. Reg has Filius Secundus until line 180, subsequently Filius Primus.
127 Following line is missing in Reg.
135a A, sir . . . wele. Reg: added in left margin by Scribe B.
135 Following line is missing in Reg.
136 here. Added by LTS, RB.
224 II MILES. Reg: in LH.
225 lawe. So LTS, RB; Reg: lawne.
227a Following dowtiest in Reg: this day (canceled).
233a I MILES. Written over erasure in Reg.
244 batterand. So RB; Reg, LTS: battand.
263a roo. Corrected over erasure in Reg.
265a leve. So LTS, RB; Reg: leve i.
271a there. So LTS, RB; Reg: thenne.
283 leede. So RB; in Reg, later scribe altered to hede. So LTS.
296 PILATUS. So RB; Reg, LTS omit.
297 soth. So LTS, RB; Reg: soh.
310b heyned. So RB, who questions and, following MED, suggests possibly hoyned.
351a Saviour. Spelling corrected in Reg, a overwritten.
370 Lineation follows RB.
370d Alowde. Stage direction (not so designated as such in Reg).
371a Reg: at right, in LH: hic caret (deleted).
371b lithe. So RB; Reg, LTS: light.
377 thee. This edition; Reg, LTS, RB: he.
389 FILIUS. Reg has Junior Filius.
404 accusyng. So LTS, RB; Reg: accusymg.
419 Following line missing in Reg.
431 Following line missing in Reg.
446 dede. So RB; Reg, LTS: dethe.
470 to spede. So LTS, RB; Reg: to speke.
488 dewe. This edition; Reg: dewe als; LTS, RB: dewe of.
497 be and. So RB; Reg, LTS: and be.
514b and bredde. Reg: supplied in margin by JC.
This edition omits Scribe B’s and borne at end of line in Reg.
524 PILATUS. Reg, RB; LTS suggests Anna.
526b MILITES. So RB; omit in Reg.
529 Line following is missing in Reg.
533 deme. Alteration in Reg, from dome.
534 Is done. In Reg at end of previous line; Done repeated at beginning of this line.
Play 30, THE FIRST TRIAL BEFORE PILATE: EXPLANATORY NOTE FOOTNOTES
Footnote 1 Middle English Harrowing of Hell and Gospel of Nicodemus, pp. 34–37; compare James, ed., Apocryphal New Testament, p. 98.
Footnote 2 See especially RB, pp. 446–47.
Footnote 3 For a survey of iconographic traditions upon which the dramatist has drawn, see Schiller, Iconography, 2:61–64.
Footnote 4 Woolf, English Mystery Plays, p. 245.
Footnote 5 See Tiner, “English Law,” p. 144, who also calls attention to proceedings before the King’s Council.
Footnote 6 King, “Contemporary Cultural Models,” p. 207.
Footnote 7 Diller, Middle English Mystery Play, p. 144 and passim.
|
The Tapiteres and Couchers |
||
|
|
|
|
Go To Play 31, The Trial before Herod
share this page
