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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 31, The Trial before Herod
Play 31, THE TRIAL BEFORE HEROD: FOOTNOTES
2 Against giants ungentle have we joined (gone to battle) with weapons
3 This simpleton claims that he may assign men to [their] reward
4 Lines 261–64: If you utter praise concerning yourself, / Likewise success will be granted; / If you speak deceptively to yourself, / Poison, dregs, and war will follow
Play 31, THE TRIAL BEFORE HEROD: 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 trial before Herod Antipas is told only in Luke 23:6–12, where the most significant detail is Jesus’ refusal to speak and the subsequent Mocking, after which he will be sent back to Pilate. The story appears in expanded form in the Gospel of Nicodemus and the Stanzaic Life, and was reputed to have been illustrated in a window in Christ Church on King’s Square along the pageant route.1 An extant example in York glass from c. 1420–30 is present in the choir of the Minster,2 and the subject appears elsewhere, as in the Holkham Bible Picture Book, fol. 30.3 The play, presumably from around the same date as the other plays written in the long alliterative line, is thus undoubtedly later than the defective and decidedly unrevealing entry in the Ordo paginarum, and only in the second list, also in the York Memorandum Book A/Y, is a play of the Presentation of Christ before Herod given to the “Lyttesters” or Dyers.4 The extant text, characterized by irregularity of the verse and stanza forms,5 presents many difficulties, as do the other plays written in the long alliterative line.
1–26 The ranting introduction by the tyrant, perhaps here confused with his father Herod the Great who was the villain of the Massacre of the Innocents, should by now be recognized as a familiar formula. It is again a mock challenge to the audience. In line 4, he brandishes a sword, specified at line 255 as the curved falchion that would have been considered the sign of a Middle Eastern tyrant. However, this iconography is not necessarily typical. For example, the enthroned and crowned king in the Holkham Bible Picture Book, fol. 30v, holds a conventional ceremonial sword in place of a scepter, and is pointing at Jesus with his left hand. His extended index finger is a gesture signifying accusation, and his crossed legs suggest a figure whose personality is out of balance, as also evident in this introductory passage in the pageant.
36 ilke a renke . . . gone to ther reste. Designating the time as during the night; all are asleep, and Herod will shortly call for his nightcap, a glass of wine, before going to “wynke” (line 41). He will drink after line 42, as the stage direction indicates.
43 unlase you. “Points,” or laces, were used for closing garments and shoes.
52–53 Ser Satan, oure sire, / And Lucifer. Invoked, along with Mohammed, by characters to show their moral and spiritual allegiances. Significant for understanding the dualism of medieval popular religion.
55–60 While Herod sleeps, the soldiers arrive with Jesus in the platea before a representation of a gate on the wagon stage. The Register lacks stage directions, but, as has been seen above, they are frequently embedded in the dialogue. The soldiers’ purpose is to deliver Jesus so that Herod will do as expected — i.e., condemn him to death.
74 sloppe. Herod’s loose outer garment needs adjustment; in the fifteenth century this normally reached below the knees. The garment specified here could be expected to have been colorful and to have displayed the ingenuity of the sponsoring guild.
96 nemys hym no more. Pilate and Herod had been in conflict, as the biblical account indicates (Luke 23:12). Note also Herod’s hope that Pilate will recognize his greater authority (line 131).
109–19 Having allowed Jesus and Pilate’s knights to enter, Herod is only willing to deal with Jesus if there is opportunity for entertainment. When he discovers his name, he recognizes that this man is one whom he is indeed happy to see, and he anticipates the “games” that he believes will begin. Luke’s gospel indicates that Herod was anxious to see a miracle, and this aspect of the story was expanded in later accounts. The Mirour of Mans Salvacioune says that Herod “was fulle gladde, hoping of thee [i.e., Jesus] some mervelle to se, / Holdyng a fals wikked nygromancere thee to be” (lines 4617–18, p. 212).
142 I hope we gete some harre hastely at hande. Signifying Herod’s wish to learn something, even something useful (actionable intelligence?).
145–46 Saie, beene-venew . . . parle remoy. Herod speaks in a parody of diplomatic French.
160 bryngis ye hym nygh. Embedded stage direction. Now Jesus will be brought directly to the king, before whom he will stand silently. This will lead to the accusation that he is a “sotte,” or fool. There will be little courtesy in Herod’s court. In this pageant particularly, Jesus’ silence will be the source of frustration and a motive for the subsequent action: the further elaboration of Jesus as the silent sufferer being led, at first to be sure from place to place, but eventually as a sheep, in this case the Agnus Dei, to the slaughter.
184 He knawes noght the course of a kyng. Herod excuses Jesus, who has failed to kneel before him, on the basis of his presumed ignorance.
201–13 For the miracle of the five loaves and two fishes, and twelve baskets of leftovers, see Matthew 14:14–21 and Mark 6:35–44. The two dukes, as representatives of Caiphas and Anna, are the accusers.
239–46 Herod, having been frustrated by Jesus’ unwillingness to kneel or otherwise acknowledge his authority, explodes into inexplicable nonsense, including words that mimic the sound of Anglo-Norman French. Smith wrote, “There seems little attempt at sense (purposely) in this jumble of French and Latin” (York Plays, p. 300).
251 it astonys hym, youre steven is so store. Store, from Old Norse stórr, “great, huge.” Embedded stage direction. Herod has been shouting, indeed a “byg blure” (line 253).
254 be Mahoundes bloode. An oath, but one not used by Englishmen! Swearing by Christ’s wounds was common.
261–64 Si loqueris . . . parantur. Unidentified quotation.
267–68 Apparently naming the dukes as Dewcus and Udins and identifying their sovereign Herod, but otherwise a parody of French.
275–76 as a knave cledde, / Wherto calle ye hym a kyng? In his dress Jesus does not appear to be an aristocrat, and thus he cannot convince Herod that he is a royal and divine king, as he alleges to be. See Herod’s statement in line 284: “Grete lordis aught to be gay” — i.e., impressively dressed. As he is dragged about after his arrest, he will appear more and more like a victim and less and less like one who might indeed be the Savior of the world. In lines 279–83 the notion is put forward that Jesus is intimidated by the rich array of Herod, but in no sense would he have mistaken the tyrant Herod and his men for angels!
337 clothe hym in white. See Luke 23:11: “And Herod with his army set him at nought, and mocked him, putting on him a white garment, and sent him back to Pilate.” “White garment” (Vulgate: vesta alba) is a mistranslation of the Greek text, which specified “gorgeous apparel.” Compare the Northern Passion: “He sufferd all thaire werkes ill, / And no word wald he say thar till. / Than Herod gert for grete despite / Cleth him all in clathes white” (1:101, Harleian manuscript, lines 998a–1000). At line 355 the article of clothing is called a “haterell,” probably a generic term for a gown, and at line 357 a “joppon,” the latter term likely to have been chosen for alliteration rather than accuracy in reporting the actual costume chosen. In any case, he will be returned to the king thus arrayed at line 369.
371a crye in my courte. Crying out for anyone who knows anything against Jesus as a way of assuring fairness in the trial, such as it is.
382–83 saie to Pilate / We graunte hym our frenschippe. See Luke 23:12: “And Herod and Pilate were made friends that same day.”
399 We fynde no defaute hym to slee. Ultimately Herod must admit that the charges against Jesus are inadequate to condemn him.
401 rollis of recorde. Tiner explains that this is “a common-law technical phrase referring to the written documents of a court” which “contain previous judgments as well as evidence touching the case at hand” (“English Law,” p. 145).
411–13 Bidde hym wirke as he will . . . motte he thee. Herod’s dismissal of Jesus.
424 Daunce on, in the devyll way. Compare Caiphas’ similar concluding curse in Play 29, line 395.
Play 31, THE TRIAL BEFORE HEROD: 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).
1 REX. So LTS, RB; Reg omits.
11 Yae. Follows at end of previous line in Reg.
14–15 Lines reversed in Reg.
33 to. So RB; Reg, LTS: in.
42, s.d. Tunc bibet Rex. Reg: stage direction added by JC.
94b heynde. Corrected in Reg (y written over u).
111 were. So LTS, RB; Reg omits.
189 deffis. So RB; Reg, LTS: dethis.
190 Reg: Say deynis thou not whare. Intrusion from previous line; corrected RB.
196 tell hyme. Reg: interlined in hand of JC.
199 This. So LTS, RB; Reg: Thus.
menyes. This edition; in Reg, n altered to y by LH; RB: mennes.
201 II DUX. Reg: inserted by LH.
202 two. Reg: added over an erasure by a LH.
214 that. Reg: that that.
215 REX. Replaces deleted I Dux in Reg.
218 light. Alteration by LH in Reg; originally lith.
256–60 Lineation follows LTS.
276–77 Lineation follows LTS.
308 droune. So RB; Reg: drawe; LTS: drawe [sonne].
Reg: at left, by LH: Nota.
310 roune. So RB; LTS: ronne.
Reg: at right, by LH: Hic.
319 Reg: at left, by LH: Nota.
Reg: at right: hic.
329 Reg: at right, by LH: Nota.
Reg: at left: Pylatus.
333a AL CHYLDER. So RB; implied only in Reg, LTS.
334 Reg: to right, by LH: Nota.
347a AL CHILDER. Not distinguished as speech tag in Reg, LTS.
355 hende. So RB; Reg, LTS: hente.
375 Reg: at right, by LH: Post Rex.
390 rathely. So LTS, RB; Reg: yathely.
Play 31, THE TRIAL BEFORE HEROD: EXPLANATORY NOTE FOOTNOTES
Footnote 1 Gent, Antient and Modern History, p. 188.
Footnote 2 YA, p. 73.
Footnote 3 See also, for example, Schiller, Iconography, 2:63, fig. 218.
Footnote 4 REED: York, 1:26.
Footnote 5 See RB, pp. 447–48.
The Lytsteres |
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Go To Play 32, The Remorse of Judas