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Anonymous
THE SECOND SHEPHERD'' PLAY

Late Fourteenth Century


In the late medieval cycles of plays celebrating human history from the Creation through the incarnation to the Day of Judgment, there was place for a play about the shepherds to whom came an angel with tidings that a savior was born. In the cycle at Wakefield, in Yorkshire, there were two such plays,called simply The First and The Second Shepherd's Plays. The latter is the crowning achievement of the author, whom we know only as the Wakefield Master, and perhaps of the religious drama of the Middle Ages.

  The world of this play, like that of medieval art generally, comprehends, but is not con- fined by, particularities of time and space. Although Christ is not yet born in the early scenes, the shepherds call upon His Cross and His name and also upon Christian saints, among them St. Nicholas, who lived more than three centuries after Christ. Also, the shepherds seem firmly grounded near Wakefield, inasmuch as the nearby village of Horbury is referred to; yet when the angel sends them to Bethlehem, they go, arriving before dawn and without crossing water. Such literal impossibilities seem not to have concerned artists who, from the perspective of eternity, saw history as synchronous, space as seamless and unitary. And in their art they captured, both realistically and ritualistically, timely and timeless truths.

   The liveried retainers who expropriate to their own use the goods of such underlings as Coll ; the feckless and procreant among the lower orders, like Mak and Gill, who cog, shuffle, and filch, with imagination if without much success ; and the lowly and oppressed herdsmen who scrabble for a living and find little more than song and the brief charitable impulses of their own hearts to rejoice in--these come to us with remarkable particularity from the Wakefield Master's contemporary experience ; yet surely they embody as well the nature and condition of such men as, fourteen centuries before, would have journeyed to the town of Bethlehem or dwelt in the fields nearby, keeping watch over their flocks by night.

   Mary and the "little day-star" in her lap, by contrast, are unique as well as typical. To render them vivid as a mother and child, the same kind of particularity that the Wakefield Master had invested in the shepherds was needed. To celebrate them as the transcendent Mother and Child, ritual was called for-- in the pageants of communal drama as in the services of the Church. And these modes are handled with a brilliance virtually unexampled.

   In the beginning, when the three shepherds lament the political, domestic, and natural causes of their suffering, and when they are joined by the light-fingered and slippery-tongued night-walker Mak, the mode is realistic if anachronistic. Even here, though, we see symbolic elements anticipating the Adoration of the Christ Child. This is the darkenss before the dawn, the suffering before the redemption, and the local flood is likened to the Flood of Noah, the antetype of Christ, who preserved a remnant of mankind from destruction and with whom the Lord established an everlasting covenant.

   In the play's middle portion realism is again the mode--comic realism now, exploiting the petty irritabilities of the shepherds, the cat-and-dog marriage of Mak and Gill, the theft and discovery of the sheep. Nevertheless, for all the comedy, the symbols gain in intensity. Mak, commending himself to the hands of Pontius Pilate and then casting a spell on the shepherds, looms momentarily as the devil. Gill's device for hiding the sheep is a false nativity, preparing by contrast for the true one to follow. Mak's anticipated meal and his somewhat insistent invitations to the shephers to eat and drink are clear if oblique reminders of the mass, the eucharistic feast.

   In the final scene the realistic detail typifies as before--more powerfully, perhaps; certainly without the former hint of abrasiveness--as the shepherds off their humble gifts and bestow on the child just such happy affection as men have felt at cradles throughout all ages: "he merries," "he laughs," "darling dear." The element of ritual, anticipated by the earlier symbols, now achieves its fullest expression. No longer allusively but directly the play deals with Mary and her Son. In one of the imposing tableaux of Christian art, the shepherds kneel and are inspired to a litany of grateful praise, uniting worship with natural affection in perfect expression of their faith that God has become man :

     Hail, sovereign savior . . .
      Hail, little tiny mop!

When they depart, singing, to publish their story, the miracle of spirit made flesh and dwelling among mankind has been fully confirmed as a vision at once contemporary and timeless.


  

THE SECOND SHEPHERD'S PLAY

Late Fourteenth Century

  

  

                                                119
    Scene 1     |      The Second Shepherds' Play

THE SECOND SHEPHERD'S PLAY

Anonymous

Adapted by Arthur M. Eastman from the modernizations of Clarence Griffin Child and Martial Rose

CHARACTERS
COLLthe first shepherd
GIB   the second shepherd
DAW the third shepherd, a boy
MAK  the sheep-stealer
GILL Mak's wife
ANGEL
MARYwith the baby Jesus

SCENE 1

[The open fields.]

  COLL. Lord, but this weather is cold, and I
                               [am ill wrapped,
  Near numb, were truth told, so long have I
5                                        [napped.
  My legs they fold, my fingers are chapped.
  It is not as I would, for I am all lapped
      In sorrow.
  In storms and tempest,
10 Now in the east, now in the west,
     Woe is him has never rest

Modification of The Second Shepherds' Play of the Towneley Cycle as translated by Clarence Griffin Child, from Riverside Literature Series    Number ??, copyright(c) 1910, 1938 by Houghton Mifflin Company. "The    Second Shepards' Play" from the book The Wakefield Mystery Plays edited  by Martial Rose. Copyright 1961 by Martial Rose. Republished by    Doubleday & Company, Inc.

  

  Now or tomorrow.

But we simple shepherds that walk on the moor,
In faith, we are near-hands out of the door.*
No wonder, as it stands, if we be poor,          15
For the tilth* of our lands lies as fallow as the                                                             [floor,
     As you ken.*
We are so lamed,
Overtaxed and maimed,                                20
We are made hand-tamed,
     By these gentry men.

They rob us of our rest, our Lady them harry!
These men that are lord-fast,* they cause the
                                               [plow tarry.  25
That, men say, is for the best; we find it contrary.
Thus are husbandmen oppressed, in point to                                                     [miscarry,
     In life.                                                    30
Thus hold they us under,
Thus bring us to blunder;
 It were great wonder,
     If ever we should thrive.

Get a man a liveried sleeve or a brooch,          35                                                  [nowadays          
Woe is him that him grieves, or once him
                                                 [gainsays!
No blame may he receive, howe'er grasping
                                                 [his ways;   40
And yet may no man believe one word that he                                                      [says--
     Not a letter.
He can seize what he's lacking,
Boastfully and bragging ;                                45
And all is through the backing
     Of men who are greater.

There shall come a swain, a proud peacock,
                                                   [you know ;
He must borrow my wain, my plough also;         50

near-hands . . . door     nearly homeless
tilth    arable part
ken    know
lord-fast   attached to or retained by lords
 

                                                                  

120
ANONYMOUS     |    Scene 1  

    

  

 

     These I am full fain to grant ere he go.
     Thus live we in pain, anger and woe
        By night and day.
     He must have, if he choose,
 5  What I must needs lose;
     I were better hanged than refuse,
        Than once say him nay.

     It does me good, as I walk thus on my own,
     Of this world for to talk, and so make my
10                                                       [moan.
     To my sleep will I stalk and harken anon,
     There abide on a balk* or sit on a stone
        Full soon.
     For I trow, pardie,*
15 True men, if they be,
     We get more company
        Ere it be noon.

        [He steps aside. Gib enters.]

        GIB. Benste and Dominus!* What may this
20                                                        [mean?
     The wold faring thus, how oft have we seen?
     Lord, this weather works through us, and the                                              [wind is full keen,
     And the frosts so hideous they water mine
25                                                          [een.*
        No lie!
     Now in dry, now in wet,
     Now in snow, now in sleet,
     When my shoes freeze to my feet,
30     It's not at all easy.

     But as far as I ken, whereever I go,
     We poor wedded men suffer much woe;
     We have sorrow ever again--it falls often so.
     Silly Copple, our hen, both to and fro
35     She cackles;
     But begin she to croak
     To groan or to cluck,
     For our cock it's no joke

balk    strip of grassland between plowed fields
trow, pardie   believe, by God
Benste . . . Dominus   bless us (benste is a shortened form of benedicte) and Lord
een    eyes

  

   For he is in shackles.

These men that are wed have not all their will; 40
When they're full hard bestead,* they sigh
                                                 [mighty still. 
God knows the life they're led is full hard and                                                            [full ill;
In bower nor in bed may they speak their will.  45
   This tide*
My part have I found,
Learned my lesson sound:
Woe to him who is bound,
    For he must it abide.                                 50

But now late in our lives--a marvel to me,
That I think my heart rives such wonders to
                                                          [see;
That which destiny drives will come to be--
Some neb will have two wives, and some men 55                                                          [three

    In store.
Some are grieved that have any,
But I'll wager my penny
Woe is him that has many,                            60
    For he feels sore!

But, young men, of wooing, for God that you                                                       [bought,
 Beware well of wedding, and hold well in
                                                   [thought, 65
 "Had I known" is a thing that serves not a jot.
 Much constant mourning has wedding home                                                    [brought,
   And grief,
 With many a sharp shower,*                          70
 For you may catch in an hour
What shall savor] full sour
  As long as you live.


For,as e'er read I Epistle, I have one to my fere,*
 As sharp as a thistle, as rough as a briar.
 She is browed like a bristle, with a sour face by                                                              [her.
bestead    put to it
tide    time
shower    pain
fere    mate 

 

 

121
Scene 1    |  The Second Shepherds' Play

    

  

 

     If she once wets her whistle, she can sing full                                                            [clear
         Her paternoster.
     As great as a whale,
  5  She has a gallon of gall.
      By hym that died for us all,
        I would I'd run till I'd lost her!          

     GOLL. Gib, look over the row! Full deafly you                                                          [stand.

10  GIBB. Yea, the devil in your maw, so tarrying!
     Did'st see aught of Daw?

     COLL.                       Yea, on a lea-land*
      I heard him blow.* He comes near at hand,
        Not far.
15  Stand still.
     GIB.     Why?
     COLL. For he comes, think I.
     GIB. He will beguile us with a lie
     Unless we beware.

20  [Enter DAW.]
      DAW. Christ's cross me speed, and Saint                                                      [Nicholas!
      Thereof have I need; it is worse than it was.
     Who knows should take heed and let the world 25                                                       [pass ;
      I'll ever it speed ; it's as brittle as glass,
        And drifts.
     But the world never fared so,
     And marvels greater grow--
30  Now in weal, now in woe--
     And everything shifts.

     Was never since Noah's flood such floodings                                                           [seen,
     Winds and rains so rude and storms so keen :
35  Some stammered, some stood in doub,* as I                                                           [ween.
     Now God turn all to good! I say as I mean,
        For ponder :
     These floods they so drown,
40  Both in fields and in town,
      And bear all down ;  

lea-land    meadow
blow   i.e., his horn
Some . . . doubt  i.e., at the time of Noah's flood

  

     And that is a wonder.

We that walk in the nights our cattlr to keep,
 We see fearful sights when other men sleep
     [Catching sight of the others.].                45
 Yet my heart grows light-- I see rascals a peep.
[Aside.] You two are tall weights* -- I will give                                                      [my sheep
      A turn, below
 But full ill have I meant ;*                              50
 As I walk on this bent,*
 I may lightly repent,
 If I stub my toe.

Ah, sir, God, you save, and master mine!
 A drink would I have and somwhat to dine.      55

COLL. Christ's curse, my knave, you're a lazy                                                             [hind!
GIB. What! Let the boy rave ! --Wait till later
                                                       [this time.

We've had our food.                                     60
I'll luck to your pate!--
Though the knave came late,
Yet he's in a state
   To sup, if he could.

DAW. Such servants as I, who work and          65
                                                        [sweat,
Eat our bread full dry, and that makes me fret.
We're oft wet and weary while our masters
                                                     [sleep yet ;
But comes full tardy the food that we get--     70
     And less than our due.
Both our dame and our sire,
When we've run in the mire,
Take a nip at our hire--
    And pay us late, too.                                 75

But hear my truth, master, for the fare that you                                                                [pay
I shall work hereafter--tit for tat is fair play.
I shall do little, sir, but sport as I may, 

tall wights    proper creatures ; i.e., a fine pair
But . . . meant    Daw reproves himself for the     disrespect he has just expressed toward his     elders, then, in the following lines, proposes     for himself an easy penance
bent    field
 

 

122
ANONYMOUS    |    Scene I

    

  

 

     For ne'er does my supper my stomach dismay         In fields.
     Why should I threap?*
     With my staff can I leap ;*
  5  Men say, "Bargain cheap
        But a poor return yields."

     COLL. You were an ill lad to go a-wooing
     With a master that had but little for spending.

     GIB. Peace, I say, lad. No more jangling,
10  Or I'll make you full sad, by heaven's king!
        Your gauds--*
     Where are our sheep, boy?-- we scorn.

     DAW. Sir, this same day at morn*
     I left them in the corn,
15 When thay rang Lauds.*

  They have pasture good, thay cannot go wrong.

     COLL. That is right. By the rood,* these                                               [nights are long!
     Ere we go now, I would someone gave us a
20                                                        [song.

     GIB. So I thought as I stood, to cheer us
                                                           [along.

     DAW.
     I agree.

25  COLL. The tenor I'll try.
     GIB. And I the treble so high.
     DAW.Then the mean* shall be I.
     How you chant now, let's see!
     [They sing. Then MAK enters, wearing a
30  cloak.]
     MAK. Now, lord, for thy seven names' spell                             [that made the stars on high,
     Full more than I can tell, thy will for me lack I.
     I'm all at odds, naught's well--that oft my 35                                          [brains doth try.

threap    haggle
With . . . leap   i.e., run away
gauds    pranks
morn    i.e., after midnight 
Lauds  matins, the church service held at midnight    (as here) or dawn
rood    cross
mean   middle part 

 

  

Would God I might in heaven dwell, for there
                                            [no children cry,
So shrill.
COLL. Who is it pipes so poor?
MAK. Would God you knew of me, sure!         40
Lo, a man that walks on the moor,
  And has not all his will!

GIB. Mak, whither do you speed? What news
                                              [do you bring?

DAW. Is he come?Then take heed each one to 45
                                                      [his thing.

   [He takes Mak's cloak from him.]

MAK. I be a yeoman, indeed, under the king,
The self and the same. A lord's message I                                                   [bring--   50
No lie.
 Fie on you! Go hence
Out of my presence!
I must have reverence.
Why, who be I?                                            55

COLL. Why play it so quaint? Mak, you do                                                     [wrong.

GIB. Would you play the saint? For that do
                                                    [you long?

DAW. With words he can paint--the devil       60
                                                     [him hang!
MAK. I'll make a complaint : you'll be flogged                                                     [ere long,
At a word.
And wracked without ruth.
COLL. But, Mak, is that truth?
Now take outt that sothern tooth,*
And set in a turd.

GIB. Mak, the devil in your eye! A blow I'd
                                         [fain give you.    70

DAW . Mak, know you not me? By God, I
                                             [could beat you!

MAK. God keep you all three! Methought I
                                             [had seen you.
You're a fair company!                                 75

COLL. Now you remember, do you?  

southern tooth  Mak has been speaking in a   southern dialect.

 

123
Scene 1    |   The Second Shepherds' Play

    

  

 

     GIB.
     Take heed!
     When thus late a man goes,
     What will folks suppose?
 5  You've a bad name, God knows,
         For stealing of sheep.

     MAK. That I am true as steel no men debate,
     But a sickness I feel has brought me to this
                                                         [state:
10   My belly lacks a meal and suffers ill fate.
      DAW. "Seldom lies the de'il dead by the                                                         [gate."*    
      MAK.
      Therefore
15   Full sore am I and ill;
       May I turn stone still
      If I've eaten a morsel
      This month and more.

COLL. How fares your wife? By my hood,
20                                         [how fares she?
MAK. Sprawling, by the rood, at the fire
                                                    [she'll be,
        And a house full of brood.  With the bottle
                                                [she's free--
25   For else not much good for aught I can see
         Or do.
       Eats as fast as she can,
      And each year that comes to a man
      Adds another to our clan--
30    And some years two.

   Now were I richer and full of purse
   I'd eaten clear out of home and house.
   She's a foul dear, if look you durst!
   There's none can  see her, who knows a worse
35  Than know I.
    Would you see what I'd proffer?
    I'd give all in my coffer
    For her soul might I offer
     A prayer for aye.

40   GIB. I know so wearied none is in this shire;

"Seldom . . . gate" proverbial : appearances are deceptive

  

I'd sleep though I earned less for my hire.
  DAW. I'm cold and naked and long for a fire.
  COLL. I'm weary with walk and am covered
                                                       [with mire.
  Look to!                                                     45
  GIB. Nay, near shall I lie
For I must sleep soundly.
  DAW. As good a man's son, I,
  As any of you.

  [They lie down.]                                         50

But, Mak, come lie here--in between--if you                                                          [please.
  MAK. You'll be hindered, I fear, from talking
                                                         [at ease,
  Indeed.
  [He lies among them. They sleep.]
From my top to my toe,
Manus tuas commendo,
Pontio Pilato.*
   Christ's cross me speed!                              60

  [He rises.]

It is time to strike ere the iron grows cold,
And craftily creep now into the fold,
And nimbly to work, but not be too bold,
For bitter the bargain, if all were told                65
  At the ending.
Time now for haste, truth to tell,
But he needs good counsel
That fain would fare well
  With but little for spending.                           70

Put about you a circle as round as the moon,
  [He draws the circle.]
Till I have done what I will, until it be noon,
Lie you stone still until I have done
While I summon my skill some magic to croon.  75
  "On high,
Over your heads I raise my hand.
Your sight is lost on sea and land!"
But I must gain much more command

Manus . . . Pilato  I commend your hands to Pontius Pilate
 

 

124
ANONYMOUS    |    Scene  II

    

  

 

          To work it right.

   Lord, but they sleep hard--as you may all hear.
   Never yet was I shepard, but of that I've no
                                                             [fear.
 5   If the flock be scared, yet shall I nip near
      Hey! Draw hitherward! [He seizes a sheep.]                                      [Now mends our cheer
      From sorrow.
      A fat sheep, I dare say,
10   A good fleece, dare I lay.
      When I can, I'll repay,
        But this will I borrow.

       [He departs with the sheep.]

SCENE II

     [MAK's cottage.]
15  MAK [outside]. Hey, Gill, are you in? Get us                                                     [some light!
     GILL. [within]. Who makes such a din this                                            [time of the night?
     I've sat down to spin ; I doubt that I might
20  Rise a penny to win-- I curse them on high!
       So fares
     A housewife that has been
     Fretted 'twixt and between.
     Here may no work be seen
25    For  such small chores.

     MAK. Good wife, open this hatch. See you
                                            [not what I bring?

     GILL. I'll let you draw the latch (MAK opens                [the door.) Ah, come in, my sweeting!
30  MAK. You care not a scratch for my long                                                       [standing.
     GILL. By your naked neck are you like to be                                                       [hanging.
     MAK.
     Away!
I am worth my meat,
For in a fix can I get
More than they that toil and sweat
     All the long day.

40  Thus it fell to my lot, Gill! Such luck came my                                                              [way!

 

  

GILL. It were a foul blot to be hanged as you                                                          [may.

MAK. I have oft 'scaped, Gillott, as risky a play. GILL. "But so long goes the pot to the water,"  45                                                      [men says,
  "At last
Comes it home broken."
MAK. Well know I the token,
 But let it never be spoken!
   But come and help fast.                             50
I would he were slain, I want so to eat.
Not this year was I so fain to have some sheep's                                                            [meat.

GILL.  If they come ere he's slain and hear the 55                                                [sheep bleat-- MAK. Then might I be ta'en : that were a cold                                                         [sweat!
  Go spar
The outer door.
GILL. Yes, Mak,
For if they come at your back--
MAK. Then might I get from the whole pack
The devil, and more.

GILL. A good trick have I spied, since you       65
                                                [think of none.
Here shall we him hide till they be gone.
 In my cradle. Abide! Let me alone,
And I shall lie beside, as in childbed, and groan.
MAK.                                                          70
Well said!
And, I shall say this night
A boy child saw the light.

GILL. Now bless I that day bright,
That saw me born and bred!                         75

 This is a good device and a far cast.*
Ever a woman's advice helps at the last.
I never know who spies : go you back fast.
MAK. Save I come ere they raise, there'll
                                     [blow a cold blast!  80
 I will go sleep.
[He returns to the shepherds.]
 Still sleeps all this company,
And I shall slip in privily,

far cast    clever trick

 

 

125
Scene 1V    |  The Second Shepherds' Play

    

  

 

As it had never been I
That carried off their sheep.

SCENE III

[The open fields.]

     COLL. Resurrex a mortruus!* Reach me a
 5                                                       [hand!
     Judas carnas dominus!* I scarcely can stand:
     My foot sleeps, by Jesus ; hunger has me                                                     [unmanned.
     I thought that we laid us full nigh to England.

10   GIB. Verily !
       Lord, but I have slept well !
       As fresh as an eel,
       As light I do feel
         As leaf on a tree.

15   DAW [disoriented.]  A blessing within !                                         [Whatever is shaking
     My heart from my skin, my body thus quaking?
     Who's making this din that's set my head                                                          [aching?
20  To the door I'll win. Hark, fellows, be waking !
        Four we were--
       see you aught of Mak now?
      COLL. We were up ere you.
      GIB. Man, to God I vow,
25   He's yet gone nowhere.

     DAW. Methought he was lapped in a wolf's                                                             [skin.      COLL. So many are wrapped now--namely                                                             [within. 30  DAW. When we had long napped, methought                                                      [with a gin* 
   A fat sheep he trapped ; but he made no din.
     GIB.  
     Be still !
35 Your dream makes you mad ;
     It's a nightmare you've had.
       COLL. God bring good out of bad,
       If it be his will.

Resurrex a mortruus    garbled Latin, referring apparently to Christ's resurrection from the dead
Judas . . . dominus  Judas, lord (in?) carnate
gin    snare

  

     GIB. Rise, Mak, for shame! Right long you
                                                    [do lie.   40
      MAK. Now Christ's holy name be with us for                                                        [aye!
What is this? By Saint James, I can't move when                                                        [I try.
I suppose I'm the same. Aah, my neck's lain   45
                                                       [awry
   Herein.
   [They help him get up.]
Many thanks! Since yester-even,
Now by Saint Stephen,                                 50
I was so flayed by a dream
    My heart jumped from my skin.

I thought Gill began to croak and travail full
                                                        [sad ;
 Well-nigh at the first cock she bore a young                                                         [lad,  55
Of cares I've a stock more than ever I had.
    Ah, my head!
A house full of hunger pains--
 The devil knock out their brains !                   60
woe is him has many bairns
  And has but little bread.

I must go home, by your leave, to Gill, as I                                                     [thought.
Pray look up my sleeve that I've stolen naught:65
I am loath you to grieve or from you take
                                                       [aught.
     [He goes. ]
     DAW. Go forth, ill may you thrive! Now
                                        [would I we sought,      This morn
For the sheep in our care.
     COLL.  First I shall fare.
Let us meet.
     GIB.      Where?
     DAW.
     At the crooked thorn.

 

SCENE IV


[MAK's cottage.]


MAK [outside.] Undo this door! Who is here?                                [How long shall I stand? 80

 

  

126
ANONYMOUS    |    Scene V

    

  

 

     GILL [within]. Who makes such a blare?
                             [Now walk in the wenyand!*      MAK. Ah, Gill, what cheer? It is I, Mak, your                                                       [husband.
 5  GILL. Then may we see here the devil in a                                                        [band--*
     [Opening the door.]
     Sir Guile !
     Lo, he comes with a croak
10  As though held by the throat.
     And I cannot devote
       To my work any while.

     MAK. Oh, the fuss that she makes to get an                                                         [excuse.
15  Naught but pleasure she takes, and curls up                                                       [her toes.
     GILL. Why, who works and who wakes?
                                 [Who comes, who goes?
     Who brews, who bakes? What makes me thus 20                                                    [hoarse?
     And then,
     It is sad to behold--
     Now in hot, now in cold,
     Full woefull the household
25   That wants a woman !

     But how have you sped with the shepherds,                                                           [Mak?
     MAK. The last word that they said when I                                            [turned my back,
30 Thay would count each head of sheep in their                                                           [pack.
     They'll not be pleased, I'm afraid, when they                                           [their sheep lack,
     Perdie !
35  But howe'er the game go,
     They'll suspect me, I know,
     And raise a great bellow,
        And cry out against me.

     But nowdo as you hight.*
40  GILL.                                 To that I agree.
     I'll swaddle him right in the cradle by me.
     Were it a greater sleight, yet could I help be.

wenyand    waning of the moon : an unlucky time
band   noose
Benste . . . Dominus   bless us (benste is a shortened form of benedicte) and Lord
hight  promised

  

I will lie down straight. Come cover me.
    [She lies down. MAK tucks her in.]
    Behind !                                                45
Come Coll and his crew,
They'll pry through and through.
     MAK. For help I'll halloo
     The sheep if they find.

     GILL. Hark now for their call-- they will    50                                                [come anon.
Come and make ready all, and sing on your                                                         [own--
Sing lullay* you shall, for I must groan
And cry out by the wall on Mary and John      55   
Full sore.
Sing lullay quite fast
When you hear them last.
If my part is miscast,
   Trust me no more.                                    60

SCENE V

[The crooked thorn.]
DAW. Ah, Coll, good morn! Why sleep you
                                                            [not?

COLL. Alas, that ever I was born! We have a
                                                [foull blot-- 65
A fat wether have we lorn.*

DAW.      God forbid, say it not!
GIB. Who should give us this scorn? That's
                                                [a foul spot.

COLL.                                                         70
Some shrew.*
I have searched with my dogs
All Horbury shrogs,*
And with fifteen hogs*
  Found I only the ewe.                                 75

DAW. Now trust me, if you will, by Saint
                                         [Thomas of Kent,
Either Mak or Gill had a hand in this event.


COLL. Peace, man, be still!  I saw when he                                                     [went.    80

lullay      a lullaby
lorn        lost
shrew     rascal
shrogs    thickets
hogs       young sheep  

 

127
Scene V1    |   The Second Shepherds' Play

    

  

 

     You slander him ill ; you ought to repent
         With good speed.
     GIB. Now as ever I might thrive,
     As I hope to keep alive,
 5   Only Mak could contrive
        To do that same deed.

     DAW. Then off to his homestead, be brisk on                                                         [our feet.
     I shall never eat bread till I know all complete.
10  COLL. Nor have drink in my head till with
                                                   [him I meet.      GIB. In no place will I bed until I him greet--
      My brother !
     One vow will I plight,
15  Till I see him in sight,
      I will ne'er sleep one night
        Where I do another !

SCENE VI

     [MAK's cottage]
     [MAK, hearing the shepherds coming, be-
20  gins to sing a lullaby at the top of his voice ;      GILL groans in concert.]
     DAW. D'you hear how they croak? Our sire                                              [will now croon.
     COLL. Never heard I folk so clean out of tune.
25  Call him
     GIB. Mak ! Undo your door soon !
     MAK.  Who is it that spoke, as if it were noon,
     So loud?
     Who is it, I say?
30  DAW. Good fellows, were it day !
     MAK. [as the shepherds enter]. As far as you                                                             [may,
     Speak low

     Over a sick woman's head, who is not at her 35                                                       [ease ;
     I had rather be dead than she suffer unease.
     GILL. [as they approach her]. Get away from
            [my bed ! Let me breathe, if you please.
     Each step that you tread from my nose to my 40                                                      [knees
     Goes through me.
     COLL.  Tell us, Mak, if you may,
     How fare you, I say?
     MAK. Are you in town today?

  

     How fare you three?                               45

You have run in the mire, and now are all wet.
I shall make you a fire, if you will sit.
A nurse would I hire--remember you yet
My dream, which entire has fulfilled its threat
     In due season?                                      50
I have bairns, if you knew,
Far more than a few ;
 But we must drink as we brew,
   And that is but reason.

I would you'd dine ere you went. Methinks      55
                                          [that you sweat.

     GIB. Our mood won't be mended by drink
                                              [nor by meat.

     MAK. Is ought then ill sent?
     DAW.                       Our loss is great.     60
A sheep stol'n we lament, ta'en while we slept.
     MAK.
     Sirs, drink !
Had I been there
Some should have paid full dear.                   65
     COLL. Mary, some trow that you were,
And that makes us think !

     GIB. Mak, one and another trows it must                                             [have been thee.
     DAW. Either you or your spouse, say we.   70
     MAK.  Now if aught suspicion throws on Gill                                                           [or me,
Come and search our house, and then may you                                                              [see
      Who had her --
If I any sheep got,
Either cow or stot--*
And Gill, my wife, rose not,
     Here since she laid her.

As I am true and leal,* to God, here I say,      80
That this be the first meal I shall eat this day.      COLL. Mak, as hope I for weal, advise you, I                                                        [say :
"He learned timely to steal that could not say                                                   [nay. "     85
[They begin to search.]

cow or stot       female or male
leal        loyal, honest 

 

128
ANONYMOUS    |    Scene VI

    

  

 

      GILL.
      My death you've dealt !
     Out, thieves, nor come again,
     You've come to rob us, that's plain.
  5   MAK.  Hear you not how she groans amain?
      Your hearts should melt !

     GILL. Out, thieves, from my bairn. Go not to                                                      [him near.      MAK. If you knew all she's borne, your hearts 10                                          [would be sore.
    You do wrong, I you warn, thus to come before
    A woman that has borne--but I say no more.
      GILL.
      Oh, my middle--I die !
 15   I vow to God so mild,
      If e'er I you beguiled,
      May I eat this child
     That in this cradle lies !

     MAK. Peace, woman, for God's pain, and cry 20                                                     [not so !
     You'll burst your brain and fill me with woe.
     GIB. I trow our sheep be slain. What find you                                                   [two, though?
     Our work's all in vain. We may as well go.
25    Save clothes and such matters
     I can find no flesh
     Hard or nesh*
     Salt nor flesh,
       Save two empty platters.
30    [Gesturing toward the cradle.] No live stock
        but this, tame or wild,
     None, so may I have bliss, as loud as he*
                                                        [smelled,
     GILL. No, so God me bless, and give me joy 35                                               [of my child !
     COLL. We have aimed amiss ; I hold us
                                                       [beguiled.
     GIB.
     Completely, each one !
40  Sir--our Lady him save ! --
      Is your child a knave?*
         MAK. Any lord might him have,
         This child, for his son.

nesh    soft
he   i.e., the stolen sheep
knave  boy

  

When he wakes, so he grips, it's a pleasure to                                                          [see.  45
     DAW. Good luck to his hips,* and blessing,
                                                     [say we !
But who were his gossips,* that were so soon                                                        [ready?
     MAK. Blest be their lips--[Hesitates, at a    50                                                          [loss.]

     COLL.                          a lie now, hark ye !      MAK.
     God give them thanks.
Parkin and Gibbon Waller, I way.
And gentle John Horn, in good fay--*
He made such droll display
   With his long shanks.

     GIB. Mak, friends will we be, for we are all                                                         [one.   60      MAK. We ? Count not on me, for amends get                                                      [I none.
Farewell all three ! And gladly begone.
     [The shepherds leave, speaking outside the cottage.]                                                      65
     DAW. Fair words there may be, but love there                                                          [is none      This year.
     COLL. Gave you the child anything?
     GIB. I trow not one farthing.                       70
     DAW. Fast back will I fling.
     Wait for me here.
     
    [He reenters the cottage, COLL and GIB slowly following.]

   DAW.  Mak, I trust you'll not grieve, if I come 75                                                   [to your child.
   MAK. Nay, great shame I receive--you have
                                                [acted full vile.
   DAW.  Your brirn 'twill not grieve, little day-
                                              [star so mild.  80 Mak, by your leave, let me give your child
    But sixpence.
    [He goes to the cradle and starts to draw
away the cover.]
MAK. Nay, stop it--he sleeps !

to his hips  i.e., to him
gossips  godparents
fay  faith

 

129
Scene VI1    |   The Second Shepherds' Play

    

  

 

     DAW. Methinks he peeps--
     MAK. When he wakens, he weeps.
     I pray you go hence.

     DAW. Give me leave him to kiss, and lift
 5                                            [up the clout.
     [Lifts the cover.]
 What the devil is this? He has a long snout !

     COLL. He's birth-marked amiss. We waste
                                             [time hereabout.
10  GIB. A weft that ill-spun is comes ever foul                                                               [out.
      Aye--so!
   He is like to our sheep!
     DAW. ho, Gibb, may I peep?
15  I trow Nature will creep
      Where it may not go.*

     GIB. This was a quaint gaude and a far cast.
   It was a high fraud.
     DAW.                        Yea, sirs, that was't.
20  Let burn this bawd and bind her fast.
     A false scold, by the Lord, will hang at the last.         So shalt thou !
      Do you see how they swaddle
      His four feet in the middle?
25   Saw I never in the cradle
      A horned lad ere now.

     MAK. Peace, I say! What, let be your blare!
     It was I him begot and yon woman him bare.
     COLL. What devil's name has he got, Mak?--
30                                 [Lo, God, Mak's heir !
     GIB. Come, joke with him not. Now, God
                                             [give him care,
     I say !
     GILL.  A pretty child is he
35  As sits on a woman's knee,
     A darling, perdie,
        To make a man gay.

     DAW. I know him by the ear-mark--that's a                                                    [good token.
40  MAK. I tell you, sirs, hark ! His nose was                                                           [broken.
     There told me a clerk he'd been forspoken.*

go   walk ; i.e., the truth will out
clerk, forspoken    priest, bewitched
 

  

   COLL. You deal falsely and dark ; I would
                                         [fain be wroken.*
    Get a weapon !                                        45
    GILL. He was witched by an elf ;
I saw it myself.
When the clock struck twelve,
   He was misshapen.

   GIB. You two are at one, that's plain, in all   50
                                   [you've done and said.
   COLL. Since their theft they maintain, let's
                                          [strike them dead.
   MAK. If I trespass again, cut off my head.
At your will I remain.                                     55
   DAW.
   Sirs, take my counsel instead.
   For this trespass
We'll neither curse nor chide,
Fight nor deride,                                          60
Nor longer bide,
   But toss him in canvas.

[They toss MAK in a blanket.]

SCENE VI

[The open fields.]
   COLL. Lord, but I'm sore, ready to burst !    65
In faith, I may no more ; therefore will I rest.
   GIB. Like a sheep of seven score he weighed
                                                   [in my fist.
To sleep anywhere I think I'd like best.
   DAW.                                                      70
   Now I you pray.
On this green let us lie.
   COLL. O'er those thieves yet chafe I.
   DAW. Let your anger go by.
   Come do as I say.                                    75

[They sleep. An ANGEL sings "Gloria in ex- celsis," then speaks.]


   ANGEL. Rise, herdsmen gentle, for now is he                                                            [born
That shall take from the fiend what Adam had                                                             [lorn ;
That warlock* to end, this night is he born.
wroken          revenged
warlock        devil

 

130
ANONYMOUS    |    Scene VII

    

  

 

     God is made your friend now on this morn.
        Leave your flocks :
     To Bethlehem go see,
     Where he lies so free,
 5   In a crib full poorly,
       Between ass and ox.

       [The Angel goes.]

     COLL. This was a fine voice, even as ever I                                                            [heard.
10  It's a marvel to dream on, thus with dread to                                                      [be stirred.
     GIB. To God's son from heaven these tidings                                                      [referred.
     All the wood with a lighting methought at his 15                                                       [word
       Shone fair.
     DAW. Of a child did he fell.
     In Bethlehem, mark well.
     COLL. You star there doth dwell.
20  Let us seek him there.

     GIB. Say, what was his song--how it went,                                                [did you hear?
     Three breves* to a long--
     DAW.                          Mary, yes. To my ear
25  There was no crotchet* wrong, nothing                                    [lacked, and 'twas clear.
     COLL. To sing it here, us among, as he sang                                                     [it, full near,
     I know how--
30  GIB. Let's see how you croon.
     Can you bark at the moon?
     DAW.  Hold your tongues! Have done !
     Hark after me now.

     [They sing.]

35  GIB. To Bethlehem he bade that we should                                                               [go ;
     And sure we be mad to tarry so.
     DAW. Be merry and not sad, our mirth may                                                             [flow.
40  Ever to be glad is the reward we shall know
        And choose.
breves   short notes
crotchet note

  

     COLL. Then let us hither hie,
Though we be wet and weary,
To that child and that lady ;
    We have no time to lose.                           45

     GIB. We find by the prophecy--let be your                                                           [din!--
Of David and Isaiah, and more of their kin--
They prophesied learnedly that in a virgin
Should God come to lie, to atone for our sin,   50
    And take it,
Our nature, from woe.
Isaiah said so.
Ecce virgo
    Concipiet*  a child that is naked.                55

     DAW. Full glad may we be if we await the                                                           [day,
That sweet sight to see who all power may                                                         [sway.
Lord, well were me, now and for aye,              60
Might I kneel on my knee some word for to say
     To that child.
But the angel said
In a crib was he laid ;
He was poorly arrayed,
   Both meek and mild.

   COLL. Patriarchs that have been and prophets
                                                         [of yore
Desired to have seen this child that is born.
They are gone full clean--that they have lorn.  70
We shall see him, I ween, ere it be morn,
    As a token.
When I see him and feel,
I shall know full well,
It is true as steel,                                          75
    What prophets have spoken :

To so poor as we are that he would appear
First, and declare by his messenger.
     GIB. Go we now, let us fare ; the place is us                                                      [near     80
     DAW. I am ready and eager. Let's together                                              [with cheer
     To that bright one go.

Ecce . . . concipiet   Behold, a virgin shall    conceive (Isaiah vii. 14)

 

131
Scene VIII    |   The Second Shepherds' Play

    

  

 

     Lord, if thy will it be--
     We are simple all three--,
     On thy child grant that we
       May some comfort bestow.

SCENE VIII

 5   [The stable in Bethlehem. The shepherds kneeling before Mary and Jesus.]
     COLL. Hail, comely and clean! Hail, young                                                          [child !
    Hail creator, I mean, from a maiden so mild !
10 Thou hast cursed, I ween, the warlock so wild      The beguiler of men, now goes he beguiled.
        Lo, he merries,
     Lo, he laughs, my sweeting !
     A happy meeting !
15  Here's my promised greeting :
        have a bob* of cherries.

     GIB. Hail, sovereign savior, for thou hast us                                                        [sought !
     Hail, noble food and flower, that all thing hast 20                                                    [wrought!
     Hail, full of favor, that made all of naught!
     Hail! I kneel and I cower. A bird have I                                                         [brought,
       Bairn that you are.
       Hayi, little tiny mop!
25    Of our creed thou art top ;
       I would drink from thy cup,
          Little day-star.

     DAW. Hail, darling dear, full of godhead !
     I pray thee be near when that I have need.
30  Hail, sweet is thy cheer !* My heart would                                                        [bleed
     To see thee sit here in so poor a weed
        With no pennies.
     Hail! Put forth thy dall.*
     I bring thee but a ball :
35 Take it and play withal,
        And go to the tennis.

     MARY. The father of heaven, God
                                                [omnipotent,
That made all in days seven--his son has he

bob    bunch
cheer   countenance
dall    hand

  

                                                      [sent.   40
   My name he named, in me alighted ere he                                                       [went.
   Conceived I him, even through his might, as he
                                                     [meant ;*
     And now is he born.                                45
   May he keep you from woe!
   I shall pray him do so.
   Tell of him as you go,
   And remember this morn.

     COLL. Farewell, lady, so fair to behold,      50
With thy child on thy knee.
     GIB.                            But he lies full cold.
Lord, well is me ! Now back to our fold.
     DAW. Forsooth, already it seems to be told
     full oft.                                                   55
     COLL. What grace we have found !
     GIB. We sre won safe and sound !
     DAW. To sing are we bound ;
     Make it ring then aloft !
                                                                 

     [They depart singing.]                             60

 

 

 

 

 

 

 

 

 

 
meant   intended

                           

 

The Second Shepherds' Play

Primus Pastor

1: Lord, what these weders ar cold! / and I am yll happyd;
2: I am nere hande dold, / so long haue I nappyd;
3: My legys thay fold, / my fyngers ar chappyd,
4: It is not as I wold, / for I am al lappyd,
5: In sorow.
6: In stormes and tempest,
7: Now in the eest, now in the west,
8: wo is hym has neuer rest
9: Myd day nor morow!
10: Bot we sely shepardes / that walkys on the moore,
11: In fayth we are nere handys / outt of the doore;

Page 117


12: No wonder as it standys / if we be poore,
13: ffor the tylthe of oure landys / lyys falow as the floore,
14: As ye ken.
15: we ar so hamyd,
16: ffor-taxed and ramyd,
17: We ar mayde hand tamyd,
18: with thyse gentlery men.
19: Thus thay refe vs oure rest / oure lady theym wary!
20: These men that ar lord fest / thay cause the ploghe tary.
21: That men say is for the best / we fynde it contrary;
22: Thus ar husbandys opprest / in po[i]nte to myscary,
23: On lyfe.
24: Thus hold, thay vs hunder,
25: Thus thay bryng vs in blonder;
26: It were greatte wonder,
27: And euer shuld we thryfe.
28: ffor may he gett a paynt slefe / or a broche now on dayes,
29: wo is hym that hym grefe / or onys agane says!
30: Dar noman hym reprefe / what mastry he mays,
31: And yit may noman lefe / oone word that he says,
32: No letter.
33: he can make purveance,
34: with boste and bragance,
35: And all is thrugh mantenance
36: Of men that are gretter.
37: Ther shall com a swane / as prowde as a po,
38: he must borow my wane / my ploghe also,
39: Then I am full fane / to graunt or he go.
40: Thus lyf we in payne / Anger, and wo,
41: By nyght and day;
42: he must haue if he langyd,
43: If I shuld, forgang it,
44: I were better be hangyd
45: Then oones say hym nay.
46: It dos me good, as I walk / thus by myn oone,
47: Of this warld, for to talk / in maner of mone.
Page 118


48: To my shepe wyll I stalk / and herkyn anone,
49: Ther abyde on a balk / or sytt on a stone
50: ffull soyne.
51: ffor I trowe, perde,
52: trew men if thay be,
53: we gett more compane
54: Or it be noyne.

Secundus Pastor

55: Benste and dominus! / what may this bemeyne?
56: why, fares this warld thus / oft haue we not sene?
57: lord, thyse weders ar spytus / and the weders full kene.
58: And the frostys so hydus / thay water myn eeyne,
59: No ly.
60: Now in dry, now in wete,
61: Now in snaw, now in slete,
62: When my shone freys to my fete,
63: It is not all esy.
64: Bot as far as I ken / or yit as I go,
65: we sely wedmen / dre mekyll wo;
66: We haue sorow then and then / it fallys oft so;
67: Sely capyle, oure hen / both to and fro
68: She kakyls;
69: Bot begyn she to crok,
70: To groyne or [to clo]k,
71: Wo is hym is of oure cok,
72: ffor he is in the shekyls.
73: These men that ar wed / haue not all thare wyll,
74: when they ar full hard sted / thay sygh full styll;
75: God wayte thay ar led / full hard and full yll;
76: In bower nor in bed / thay say noght ther tyll,
77: This tyde.
78: My parte haue I fun,
79: I know my lesson.
80: wo is hym that is bun,
81: ffor he must abyde.

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82: Bot now late in oure lyfys / a meruell to me,
83: That I thynk my hart ryfys / sich wonders to see.
84: what that destany dryfys / it shuld so be;
85: Som men wyll have two wyfys / and som men thre,
86: In store;
87: Som ar wo that has any,
88: Bot so far can I,
89: wo is hym that has many,
90: ffor he felys sore.
91: Bot yong men of wowyng / for god that you boght,
92: Be well war of wedyng / and thynk in youre thoght,
93: "[had I wyst"] is a thyng / it seruys of noght;
94: Mekyll styll mowrnyng / has wedyng home broght,
95: And grefys;
96: with many a sharp showre,
97: ffor thou may cach in an owre
98: That shall [savour] fulle sowre
99: As long as thou lyffys.
100: ffor, as euer red I pystyll / I haue oone to my fere,
101: As sharp as a thystyll / as rugh as a brere;
102: She is browyd lyke a brystyll / with a sowre loten chere;
103: had She oones Wett Hyr Whystyll / She couth Syng full clere
104: Hyr pater noster.
105: She is as greatt as a whall,
106: She has a galon of gall:
107: By hym that dyed for vs all,
108: I wald I had ryn to I had lost hir.

Primus Pastor

109: God looke ouer the raw / ffull defly ye stand.

Secundus Pastor

110: yee, the dewill in thi maw / so tariand.
sagh thou awro of daw? /

Primus Pastor

yee, on a ley land
112: hard I hym blaw / he commys here at hand,
113: Not far;

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Stand styll.

Secundus Pastor

qwhy?

Primus Pastor

115: ffor he commys, hope I.

Secundus Pastor

116: he wyll make vs both a ly
117: Bot if we be war.

Tercius Pastor

118: Crystys crosse me spede / and sant nycholas!
119: Ther of had I nede / it is wars then it was.
120: Whoso couthe take hede / and lett the warld pas,
121: It is euer in drede / and brekyll as glas,
122: And slythys.
123: This warld, fowre neuer so,
124: With meruels mo and mo,
125: Now in weyll, now in wo,
126: And all thyng wrythys.
127: Was neuer syn noe floode / sich floodys seyn;
128: Wyndys and ranys so rude / and stormes so keyn;
129: Som stamerd, som stod, / in dowte, as I weyn;
130: Now god turne all to good / I say as I mene,
131: ffor ponder.
132: These floodys so thay drowne,
133: Both in feyldys and in towne,
134: And berys all downe,
135: And that is a wonder.
136: We that walk on the nyghtys / oure catell to kepe,
137: We se sodan syghtys / when othere men slepe.
138: yit me thynk my hart lyghtys / I se shrewys pepe;
139: ye ar two all wyghtys / I wyll gyf my shepe
140: A turne.
141: Bot full yll haue I ment,
142: As I walk on this bent,
143: I may lyghtly repent,
144: My toes if I spurne.
145: A, sir, god, you saue / and master myne!
146: A drynk fayn wold I haue / and somwhat to dyne.

Page 121

Primus Pastor

147: Crystys curs, my knaue / thou art a ledyr hyne!

Secundus Pastor

148: What! the boy lyst rave; / abyde vnto syne;
149: We haue mayde it.
150: yll thryft on thy pate!
151: Though the shrew cam late,
152: yit is he in state
153: To dyne, if he had it.

Tercius Pastor

154: Sich seruandys as I / that swettys and swynkys,
155: Etys oure brede full dry / and that me forthynkys;
156: We ar oft weytt and wery / when master-men wynkys,
157: yit commys full lately / both dyners and drynkys,
158: Bot nately.
159: Both oure dame and oure syre,
160: when we haue ryn in the myre,
161: Thay can nyp at oure hyre,
162: And pay vs full lately.
163: Bot here my trouth, master / for the fayr that ye make,
164: I shall do therafter / wyrk as I take;
165: I shall do a lytyll, sir / and emang euer lake,
166: ffor yit lay my soper / neuer on my stomake
167: In feyldys.
168: Wherto shuld, I threpe?
169: with my staf can I lepe,
170: And men say "[lyght chepe
171: letherly for-yeldys."]

Primus Pastor

172: Thou were an yll lad / to ryde on wowyng
173: With a man that had / bot lytyll of spendyng.

Secundus Pastor

174: Peasse, boy, I bad / no more Iangling,
175: Or I shall make the full rad / by the heuen's kyng!
176: with thy gawdys;
177: wher ar oure shepe, boy, we skorne?

Tercius Pastor

178: Sir, this same day at morne
179: I thaym left in the corne,
180: when thay rang lawdys;

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181: Thay haue pasture good / thay can not go wrong.

Primus Pastor

182: That is right, by the roode! / thyse nyghtys ar long,
183: yit I wold, or we yode / oone gaf vs a song.

Secundus Pastor

184: So I thoght as I stode / to myrth vs emong.

Tercius Pastor

185: I grauntt.

Primus Pastor

186: lett me syng the tenory.

Secundus Pastor

187: And I the tryble so hye.

Tercius Pastor

188: Then the meyne fallys to me;
189: lett se how ye chauntt.

Mak

190: Now lord, for thy naymes sevyn / that made both moyn & starnes
191: Well mo then I can neuen / thi will, lorde, of me tharnys;
192: I am all vneuen / that moves oft my harnes,
193: Now Wold god I were in heuen / for there wepe no barnes
194: So styll.

Primus Pastor

195: Who is that pypys so poore?

Mak

196: wold, god ye wyst how I foore!
197: lo, a man that walkys on the moore,
198: And has not all his wyll!

Secundus Pastor

199: Mak, where has thou gon? / tell vs tythyng.

Tercius Pastor

200: Is he commen? then ylkon / take hede to his thyng.

Mak

201: what! ich be a yoman / I tell you, of the king;
202: The self and the same / sond from a greatt lordyng,
203: And sich.
204: ffy on you! goyth hence
205: Out of my presence!
206: I must haue reuerence;
207: why, who be ich?

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Primus Pastor

208: Why make ye it so qwaynt? / mak, ye do wrang.

Secundus Pastor

209: Bot, mak, lyst ye saynt? / I trow that ye lang.

Tercius Pastor

210: I trow the shrew can paynt, / the dewyll myght hym hang!

Mak

211: Ich shall make complaynt / and make you all to thwang
212: At a worde,
213: And tell euyn how ye doth.

Primus Pastor

214: Bot, Mak, is that sothe?
215: Now take outt that sothren tothe,
216: And sett in a torde!

Secundus Pastor

217: Mak, the dewill in youre ee / a stroke wold, I leyne you.

Tercius Pastor

218: Mak, know ye not me? / by god I couthe teyn you.

Mak

219: God looke you all thre! / me thoght I had sene you,
ye ar a fare compane. /

Primus Pastor

can ye now mene you?

Secundus Pastor

221: Shrew, Iape!
222: Thus late as thou goys,
223: what wyll men suppos?
224: And thou has an yll noys
225: of stelyng of shepe.

Mak

226: And I am trew as steyll / all men waytt,
227: Bot a sekenes I feyll / that haldys me full haytt,
228: My belly farys not weyll / it is out of astate.

Tercius Pastor

229: Seldom lyys the dewyll / dede by the gate.

Mak

230: Therfor
231: full sore am I and yll,
232: If I stande stone styll;
233: I ete not an nedyll
234: Thys moneth and more.

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Primus Pastor

235: how farys thi wyff? by my hoode / how farys sho?

Mak

236: lyys walteryng, by the roode / by the fyere, lo!
237: And a howse full of brude / she drynkys well to;
238: yll spede othere good / that she wyll do!
239: Bot so
240: Etys as fast as she can,
241: And ilk yere that commys to man
242: She bryngys furth a lakan,
243: And som yeres two.
244: Bot were I not more gracyus / and rychere befar,
245: I were eten outt of howse / and of harbar;
246: Yit is she a fowll dowse / if ye com nar:
247: Ther is none that trowse / nor knowys a war,
248: Then ken I.
249: Now wyll ye se what I profer,
250: To gyf all in my cofer
251: To morne at next to offer
252: hyr hed mas penny.

Secundus Pastor

253: I wote so forwakyd / is none in this shyre:
can ye now mene you?

Secundus Pastor

221: Shrew, Iape!
222: Thus late as thou goys,
223: what wyll men suppos?
224: And thou has an yll noys
225: of stelyng of shepe.

Mak

226: And I am trew as steyll / all men waytt,
227: Bot a sekenes I feyll / that haldys me full haytt,
228: My belly farys not weyll / it is out of astate.

Tercius Pastor

229: Seldom lyys the dewyll / dede by the gate.

Mak

230: Therfor
231: full sore am I and yll,
232: If I stande stone styll;
233: I ete not an nedyll
234: Thys moneth and more.

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Primus Pastor

235: how farys thi wyff? by my hoode / how farys sho?

Mak

236: lyys walteryng, by the roode / by the fyere, lo!
237: And a howse full of brude / she drynkys well to;
238: yll spede othere good / that she wyll do!
239: Bot so
240: Etys as fast as she can,
241: And ilk yere that commys to man
242: She bryngys furth a lakan,
243: And som yeres two.
244: Bot were I not more gracyus / and rychere befar,
245: I were eten outt of howse / and of harbar;
246: Yit is she a fowll dowse / if ye com nar:
247: Ther is none that trowse / nor knowys a war,
248: Then ken I.
249: Now wyll ye se what I profer,
250: To gyf all in my cofer
251: To morne at next to offer
252: hyr hed mas penny.

Secundus Pastor

253: I wote so forwakyd / is none in this shyre:
286: And it be right.
287: lord! what thay slepe hard! / that may ye all here;
288: was I neuer a shepard / bot now wyll I lere.
289: If the flok be skard / yit shall I nyp nere,
290: how! drawes hederward! / now mendys oure chere
291: ffrom sorow:
292: A fatt shepe I dar say,
293: A good flese dar I lay,
294: Eft whyte when I may,
295: Bot this will I borow.
296: how, gyll, art thou In? / gett vs some lyght.

Uxor Ejus (Gill)

297: Who makys sich dyn / this tyme of the nyght?

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298: I am sett for to spyn / I hope not I myght
299: Ryse a penny to wyn, / I shrew them on hight!
300: So farys
301: A huswyff that has bene
302: To be rasyd thus betwene:
303: here may no note be sene
304: ffor sich small charys.

Mak

305: Good wyff, open the hek! / seys thou not what I bryng?

Uxor Ejus (Gill)

306: I may thole the dray the snek. / A, com in, my swetyng!

Mak

307: yee, thou thar not rek / of my long standyng.

Uxor Ejus (Gill)

308: By the nakyd nek / art thou lyke for to hyng.

Mak

309: Do way:
310: I am worthy my mete,
311: ffor in a strate can I gett
312: More then thay that swynke and swette
313: All the long day,
314: Thus it fell to my lott / gyll, I had sich grace.

Uxor Ejus (Gill)

315: It were a fowll blott / to be hanged for the case.

Mak

316: I haue skapyd, Ielott / oft as hard a glase.

Uxor Ejus (Gill)

317: Bot so long goys the pott / to the water, men says,
318: At last
319: Comys it home broken.

Mak

320: well knowe I the token,
321: Bot let it neuer be spoken;
322: Bot com and help fast.
323: I wold, he were slayn / I lyst well ete:
324: This twelmothe was I not so fayn / of oone shepe mete.

Uxor Ejus (Gill)

325: Com thay or he be slayn/ and here the shepe blete!

Mak

326: Then myght I be tane, / that were a cold, swette!
327: Go spar
The gaytt doore.

Uxor Ejus (Gill)

Yis, Mak,
329: ffor and thay com at thy bak,

Mak

330: Then myght I by, for all the pak,
331: The dewill of the war.

Page 127

Uxor Ejus (Gill)

332: A good bowrde haue I spied / syn thou can none.
333: here shall we hym hyde / to thay be gone;
334: In my credyll abyde / lett me alone,
335: And I shall lyg besyde / in chylbed, and grone.

Mak

336: Thou red;
337: And, I shall say thou was lyght
338: Of a knaue childe this nyght.

Uxor Ejus (Gill)

339: Now well is me day bright,
340: That euer was I bred.
341: This is a good gyse / and a far cast;
342: Yit a woman avyse / helpys at the last.
343: I wote neuer who spyse, / agane go thou fast.

Mak

344: Bot I com or thay ryse / els blawes a cold, blast!
345: I wyll go slepe.
346: yit slepys all this meneye,
347: And I shall go stalk preuely,
348: As it had neuer bene I
349: That caryed thare shepe.

Primus Pastor

350: Resurrex a mortruis! / haue hald, my hand.
351: Iudas carnas dominus! / I may not well stand:
352: My foytt slepys, by ihesus / and I water fastand.
353: I thoght that we layd vs / full nere yngland.

Secundus Pastor

354: A ye!
355: lord! what I haue slept weyll;
356: As fresh as an eyll,
357: As lyght I me feyll
358: As leyfe on a tre.

Tercius Pastor

359: Benste be here in! / so my [hart?] qwakys,
360: My hart is outt of skyn / what so it makys.
361: Who makys all this dyn? / so my browes blakys,
362: To the dowore wyll I wyn / harke felows, wakys!
363: We were fowre:
364: se ye awre of mak now?

Primus Pastor

365: we were vp or thou.

Secundus Pastor

366: Man, I gyf god a vowe,
367: yit yede he nawre.

Page 128

Tercius Pastor

368: Me thoght he was lapt / in a wolfe skyn.

Primus Pastor

369: So are many hapt / now namely within.

Secundus Pastor

370: When we had long napt / me thoght with a gyn
371: A fatt shepe he trapt / bot he mayde no dyn.

Tercius Pastor

372: Be styll:
373: Thi dreme makys the woode:
374: It is bot fantom, by the roode.

Primus Pastor

375: Now god turne all to good,
376: If it be his wyll.

Secundus Pastor

377: Ryse, mak, for shame! / thou lygys right lang.

Mak

378: Now crystys holy name / be vs emang!
379: what is this? for sant Iame / I may not well gang!
380: I trow I be the same / A! my nek has lygen wrang
381: Enoghe;
382: Mekill thank, syn yister euen,
383: Now, by sant strevyn,
384: I was flayd with a swevyn,
385: My hart out of sloghe.
386: I thoght gyll began to crok / and trauell full sad,
387: welner at the fyrst cok / of a yong lad,
388: ffor to mend oure flok / then be I neuer glad.
389: I haue tow on my rok / more then euer I had.
390: A, my heede!
391: A house full of yong tharmes,
392: The dewill knok outt thare harnes!
393: wo is hym has many barnes,
394: And therto lytyll brede!
395: I must go home, by youre lefe / to gyll as I thoght.
396: I pray you looke my slefe / that I steyll noght:
397: I am loth you to grefe / or from you take oght.

Tercius Pastor

398: Go furth, yll myght thou chefe! / now wold I we soght,

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399: This morne,
400: That we had all oure store.

Primus Pastor

Bot I will go before, let vs mete.

Secundus Pastor

whore?

Tercius Pastor

402: At the crokyd thorne.

Mak

403: Vndo this doore! who is here? / how long shall I stand?

Uxor Ejus (Gill)

404: Who makys sich a bere? / now walk in the Wenyand.

Mak

405: A, gyll, what chere? / it is I, mak, youre husbande,

Uxor Ejus (Gill)

406: Then may we be here / the dewill in a bande,
407: Syr gyle;
408: lo, he commys with a lote
409: As he were holden in the throte.
410: I may not syt at my note,
411: A hand lang while.

Mak

412: wyll ye here what fare she makys / to gett hir a glose,
413: And dos noght bot lakys / and clowse hir toose.

Uxor Ejus (Gill)

414: why, who wanders, who wakys / who commys, who gose?
415: who brewys, who bakys? / what makys me thus hose?
416: And than,
417: It is rewthe to beholde,
418: Now in hote, now in colde,
419: ffull wofull is the householde
420: That wantys a woman.
421: Bot what ende has thou mayde / with the hyrdys, mak?

Mak

422: The last worde that thay sayde / when I turnyd my bak,
423: Thay wold looke that thay hade / thare shepe all the pak.
424: I hope thay wyll nott be well payde / when thay thare shepe lak,
425: Perde.

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426: Bot how so the gam gose,
427: To me thay wyll suppose,
428: And make a fowll noyse,
429: And cry outt apon me.
Bot thou must do as thou hyght /

Uxor Ejus (Gill)

I accorde me thertyll.
431: I shall swedyll hym right / In my credyll;
432: If it were a gretter slyght / yit couthe I help tyll.
I wyll lyg downe stright; / com hap me;

Mak

I wyll.

Uxor Ejus (Gill)

434: Behynde.
435: Com coll and his maroo,
436: Thay will nyp vs full naroo.

Mak

437: Bot I may cry out `haroo,'
438: The shepe if thay fynde.

Uxor Ejus (Gill)

439: harken ay when thay call / thay will com onone.
440: Com and make redy all / and syng by thyn oone;
441: Syng lullay thou shall / for I must grone,
442: And cry outt by the wall / on mary and Iohn,
443: ffor sore.
444: Syng lullay on fast
445: when thou heris at the last;
446: And bot I play a fals cast,
447: Trust me no more.

Tercius Pastor

448: A, coll, goode morne / why slepys thou nott?

Primus Pastor

449: Alas, that euer was I borne! / we haue a fowll blott.
A fat wedir haue we lorne. /

Tercius Pastor

mary, godys forbott!

Secundus Pastor

451: who shuld do vs that skorne? that were a fowll spott.

Primus Pastor

452: Som shrewe.
453: I haue soght with my dogys
454: All horbery shrogys,
455: And of fefteyn hogys
456: ffond I bot oone ewe.

Page 131

Tercius Pastor

457: Now trow me, if ye will / by sant thomas of kent,
458: Ayther mak or gyll / was at that assent.

Primus Pastor

459: peasse, man, be still! / I sagh when he went;
460: Thou sklanders hym yll / thou aght to repent,
461: Goode spede.

Secundus Pastor

462: Now as euer myght I the,
463: If I shuld, euyn here de,
464: I wold say it were he,
465: That dyd that same dede.

Tercius Pastor

466: Go we theder, I rede / and ryn on oure feete.
467: Shall I neuer ete brede / the sothe to I wytt.

Primus Pastor

468: Nor drynk in my heede / with hym tyll I mete.

Secundus Pastor

469: I wyll rest in no stede / tyll that I hym grete,
470: My brothere.
471: Oone I will hight:
472: Tyll I se hym in sight
473: shall I neuer slepe one nyght
474: Ther I do anothere.

Tercius Pastor

475: will ye here how thay hak? / oure syre, lyst, croyne.

Primus Pastor

476: hard I neuer none crak / so clere out of toyne;
477: Call on hym.

Secundus Pastor

478: mak! / vndo youre doore soyne.

Mak

479: Who is that spak, / as it were noyne,
480: On loft?
481: Who is that I say?

Tercius Pastor

482: Goode felowse, were it day.

Mak

483: As far as ye may,
484: Good, spekys soft,

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485: Ouer a seke woman's heede / that is at mayll easse;
486: I had leuer be dede / or she had any dyseasse.

Uxor Ejus (Gill)

487: Go to an othere stede / I may not well qweasse.
488: Ich fote that ye trede / goys thorow my nese.
489: So hee!

Primus Pastor

490: Tell vs, mak, if ye may,
491: how fare ye, I say?

Mak

492: Bot ar ye in this towne to day?
493: Now how fare ye?
494: ye haue ryn in the myre / and ar weytt yit:
495: I shall make you a fyre / if ye will syt.
496: A nores wold, I hyre / thynk ye on yit,
497: well qwytt is my hyre / my dreme this is itt,
498: A seson.
499: I haue barnes, if ye knew,
500: well mo then enewe,
501: Bot we must drynk as we brew,
502: And that is bot reson.
503: I wold ye dynyd or ye yode / me thynk that ye swette.

Secundus Pastor

504: Nay, nawther mendys oure mode / drynke nor mette.

Mak

why, sir, alys you oght bot goode? /

Tercius Pastor

yee, oure shepe that we gett,
506: Ar stollyn as thay yode / oure los is grette.

Mak

507: Syrs, drynkys!
508: had I bene thore,
509: Som shuld haue boght it full sore.

Primus Pastor

510: Mary, som men trowes that ye wore,
511: And that vs forthynkys.

Secundus Pastor

512: Mak, som men trowys / that it shuld be ye.

Tercius Pastor

513: Ayther ye or youre spouse / so say we.

Mak

514: Now if ye haue suspowse / to gill or to me,
515: Com and rype oure howse / and then may ye se

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516: who had hir,
517: If I any shepe fott,
518: Aythor cow or stott;
519: And gyll, my wyfe, rose nott
520: here syn she lade hir.
521: As I am true and lele / to god here I pray,
522: That this be the fyrst mele / that I shall ete this day.

Primus Pastor

523: Mak, as haue I ceyll, / Avyse the, I say;
524: he lernyd tymely to steyll / that couth not say nay.

Uxor Ejus (Gill)

525: I swelt!
526: Outt, thefys, fro my wonys!
527: ye com to rob vs for the nonys.

Mak

528: here ye not how she gronys?
529: youre hartys shuld melt.

Uxor Ejus (Gill)

530: Outt, thefys, fro my barne! / negh hym not thor.

Mak

531: wyst ye how she had farne / youre hartys wold be sore.
532: ye do wrang, I you warne / that thus commys before
533: To a woman that has farne / bot I say no more.

Uxor Ejus (Gill)

534: A, my medyll!
535: I pray to god so mylde,
536: If euer I you begyld,,
537: That I ete this chylde
538: That lygys in this credyll.

Mak

539: peasse, woman, for godys payn / and cry not so:
540: Thou spyllys thy brane / and makys me full wo.

Secundus Pastor

541: I trow oure shepe be slayn / what finde ye two?

Tercius Pastor

542: All wyrk we in vayn / as well may we go.
543: Bot hatters,
544: I can fynde no flesh,
545: hard nor nesh,
546: Salt nor fresh,
547: Bot two tome platers.

Page 134


548: Whik catell bot this / tame nor wylde,
549: None, as haue I blys / as lowde as he smylde.

Uxor Ejus (Gill)

550: No, so god me blys / and gyf me Ioy of my chylde!

Primus Pastor

551: We haue merkyd amys / I hold vs begyld.

Secundus Pastor

552: Syr don,
553: Syr, oure lady hym saue!
554: Is youre chyld a knaue?

Mak

555: Any lord myght hym haue
556: This chyld to his son.
557: when he wakyns he kyppys / that ioy is to se.

Tercius Pastor

558: In good tyme to hys hyppys / and in cele.
559: Bot who was his gossyppys / so sone rede?

Mak

So fare fall thare lyppys! /

Primus Pastor

hark now, a le!

Mak

561: So god thaym thank,
562: Parkyn, and gybon waller, I say,
563: And gentill Iohn horne, in good fay,
564: he made all the garray,
565: With the greatt shank.

Secundus Pastor

566: Mak, freyndys will we be / ffor we ar all oone.

Mak

567: we! now I hald for me / for mendys gett I none.
568: ffare well all thre / all glad were ye gone.

Tercius Pastor

569: ffare wordys may ther be / bot luf is ther none
570: this yere.

Primus Pastor

571: Gaf ye the chyld, any thyng?

Secundus Pastor

572: I trow not oone farthyng.

Tercius Pastor

573: ffast agane will I flyng,
574: Abyde ye me there.
575: Mak, take it to no grefe / if I com to thi barne.

Mak

576: Nay, thou dos me greatt reprefe / and fowll has thou farne.

Tercius Pastor

577: The child will it not grefe / that lytyll day starne.
578: Mak, with youre leyfe / let me gyf youre barne,

Page 135


579: Bot sex pence.

Mak

580: Nay, do way: he slepys.

Tercius Pastor

581: Me thynk he pepys.

Mak

582: when he wakyns he wepys.
583: I pray you go hence.

Tercius Pastor

584: Gyf me lefe hym to kys / and lyft vp the clowtt.
585: what the dewill is this? / he has a long snowte.

Primus Pastor

586: he is merkyd amys / we wate ill abowte.

Secundus Pastor

587: Ill spon weft, Iwys / ay commys foull owte.
588: Ay, so!
589: he is lyke to oure shepe!

Tercius Pastor

590: how, gyb! may I pepe?

Primus Pastor

591: I trow, kynde will crepe
592: where it may not go.

Secundus Pastor

593: This was a qwantt gawde / and a far cast.
It was a hee frawde. /

Tercius Pastor

yee, syrs, wast.
595: lett bren this bawde / and bynd hir fast.
596: A fals skawde / hang at the last;
597: So shall thou.
598: wyll ye se how thay swedyll
599: his foure feytt in the medyll?
600: Sagh I neuer in a credyll
601: A hornyd lad or now.

Mak

602: Peasse byd I: what! / lett be youre fare;
603: I am he that hym gatt / and yond woman hym bare.

Primus Pastor

604: What dewill shall he hatt? / Mak, lo god makys ayre.

Secundus Pastor

605: lett be all that. / now god gyf hym care,
606: I sagh.

Uxor Ejus (Gill)

607: A pratty child is he
608: As syttys on a waman's kne;
609: A dyllydowne, perde,
610: To gar a man laghe.

Page 136

Tercius Pastor

611: I know hym by the eere marke / that is a good tokyn.

Mak

612: I tell you, syrs, hark! / hys noyse was brokyn.
613: Sythen told, me a clerk / that he was forspokyn.

Primus Pastor

614: This is a fals wark / I wold, fayn be wrokyn:
615: Gett wepyn.

Uxor Ejus (Gill)

616: he was takyn with an elfe,
617: I saw it myself.
618: when the clok stroke twelf
619: was he forshapyn.

Secundus Pastor

620: ye two ar well feft / sam in a stede.

Tercius Pastor

621: Syn thay manteyn thare theft / let do thaym to dede.

Mak

622: If I trespas eft / gyrd of my heede.
with you will I be left. /

Primus Pastor

syrs, do my reede.
624: ffor this trespas,
625: we will nawther ban ne flyte,
626: ffyght nor chyte,
627: Bot haue done as tyte,
628: And cast hym in canvas.
629: lord! what I am sore / in poynt for to bryst.
630: In fayth I may no more / therfor wyll I ryst.

Secundus Pastor

631: As a shepe of sevyn skore / he weyd in my fyst.
632: ffor to slepe ay whore / me thynk that I lyst.

Tercius Pastor

633: Now I pray you,
634: lyg downe on this grene.

Primus Pastor

635: On these thefys yit I mene.

Tercius Pastor

636: wherto shuld ye tene
637: So, as I say you?

Angel

638: Ryse, hyrd men heynd! / for now is he borne
639: That shall take fro the feynd / that adam had lorne:

Page 137


640: That warloo to sheynd / this nyght is he borne.
641: God is made youre freynd / now at this morne.
642: he behestys,
643: At bedlem go se,
644: Ther lygys that fre
645: In a cryb full poorely,
646: Betwyx two bestys.

Primus Pastor

647: This was a qwant stevyn / that euer yit I hard.
648: It is a meruell to neuyn / thus to be skard.

Secundus Pastor

649: Of godys son of heuyn / he spak vpward.
650: All the wod on a leuyn / me thoght that he gard
651: Appere.

Tercius Pastor

652: he spake of a barne
653: In bedlem, I you warne.

Primus Pastor

654: That betokyns yond starne.
655: let vs seke hym there,

Secundus Pastor

656: Say, what was his song? / hard ye not how he crakyd it?
Thre brefes to a long. /

Tercius Pastor

yee, mary, he hakt it.
658: was no crochett wrong / nor no thyng that lakt it.

Primus Pastor

659: ffor to syng vs emong / right as he knakt it,
660: I can.

Secundus Pastor

661: let se how ye croyne.
662: Can ye bark at the mone?

Tercius Pastor

663: hold youre tonges, haue done!

Primus Pastor

664: hark after, than.

Secundus Pastor

665: To bedlem he bad / that we shuld gang:
666: I am full fard / that we tary to lang.

Tercius Pastor

667: Be mery and not sad / of myrth is oure sang,
668: Euer lastyng glad / to mede may we fang,

Page 138


669: Withoutt noyse.

Primus Pastor

670: hy we theder for thy;
671: If we be wete and wery,
672: To that chyld and that lady
673: we haue it not to lose.

Secundus Pastor

674: we fynde by the prophecy-/ let be youre dyn-
675: Of dauid and Isay / and mo then I myn,
676: Thay prophecyed by clergy / that in a vyrgyn
677: shuld, he lyght and ly / to slokyn oure syn
678: And slake it,
679: Oure kynde from wo;
680: ffor Isay sayd so,
681: Cite` virgo
682: Concipiet a chylde that is nakyd.

Tercius Pastor

683: ffull glad may we be / and abyde that day
684: That lufly to se / that all myghtys may.
685: lord, well were me / for ones and for ay,
686: Myght I knele on my kne / som word for to say
687: To that chylde.
688: Bot the angell sayd,
689: In a cryb wos he layde;
690: he was poorly arayd
691: Both mener and mylde.

Primus Pastor

692: patryarkes that has bene / and prophetys beforne,
693: Thay desyryd to haue sene / this chylde that is borne.
694: Thay ar gone full clene / that haue thay lorne.
695: We shall se hym, I weyn / or it be morne,
696: To tokyn.
697: When I se hym and fele,
698: Then wote I full weyll
699: It is true as steyll
700: That prophetys haue spokyn.
701: To so poore as we ar / that he wold appere,
702: ffyrst fynd, and declare / by his messyngere.

Page 139

Secundus Pastor

703: Go we now, let vs fare / the place is vs nere.

Tercius Pastor

704: I am redy and yare / go we in fere
705: To that bright.
706: Lord, if thi wylles be,
707: we ar lewde all thre,
708: Thou grauntt vs somkyns gle
709: To comforth thi wight.

Primus Pastor

710: hayll, comly and clene! / hayll, yong child!
711: hayll, maker, as I meyne, / of a madyn so mylde!
712: Thou has waryd, I weyne / the warlo so wylde;
713: The fals gyler of teyn / now goys he begylde.
714: lo, he merys;
715: lo, he laghys, my swetyng,
716: A welfare metyng,
717: I haue holden my hetyng;
718: haue a bob of cherys.

Secundus Pastor

719: hayll, sufferan sauyoure! / ffor thou has vs soght:
720: hayll, frely foyde and floure / that all thyng has wroght!
721: hayll, full of fauoure / that made all of noght!
722: hayll! I kneyll and I cowre. / A byrd haue I broght
723: To my barne.
724: hayll, lytyll tyne' mop!
725: of oure crede thou art crop:
726: I wold drynk on thy cop,
727: Lytyll day starne.

Tercius Pastor

728: hayll, derlyng dere / full of godhede!
729: I pray the be nere / when that I haue nede.
730: hayll! swete is thy chere! / my hart wold, blede
731: To se the sytt here / in so poore wede,
732: With no pennys.
733: hayll! put furth thy dall!
734: I bryng the bot a ball:
735: haue and play the with all,
736: And go to the tenys.

Page 140

Mary

737: The fader of heuen / god omnypotent.
738: That sett all on seuen, / his son has he sent.
739: My name couth he neuen / and lyght or he went.
740: I conceyuyd hym full euen / thrugh myght as he ment,
741: And now is he borne.
742: he kepe you fro wo!
743: I shall pray hym so;
744: Tell furth as ye go,
745: And myn on this morne.

Primus Pastor

746: ffarewell, lady / so fare to beholde,
with thy childe on thi kne! /

Secundus Pastor

bot he lygys full cold.
748: lord, well is me / now we go, thou behold,.

Tercius Pastor

749: ffor sothe all redy / it semys to be told
750: full oft.

Primus Pastor

751: what grace we haue fun.

Secundus Pastor

752: Com furth, now ar we won.

Tercius Pastor

753: To syng ar we bun:
754: let take on loft.

 

Wakefield Second Shepherds' Play

Mystery play

--(the mystery of Christ's redemption of mankind)
--part of a cycle of plays performed by guilds on particular feast days, Whitsuntide or Corpus Christi (8th and 9th week after Easter).
--cycle often acted out on a wagon that moved around the town, later probably on a stage or set of stages.
--plays often very long, sometimes at pains to provide minute-by-minute fidelity to the events depicted.
--characters usually stock, action often grotesque or exaggerated
 

Second Shepherds

--violates Aristotle's three unities, but maintains coherence through extensive internal parallelism and ordering.  For example, the three shepherds speak in a prescribed order that is rarely violated.
--Parody: the imitation of something, usually with exaggerated features, for the purpose of criticism or ridicule.  Not all parody is non-serious; The plot of SSP provides for extended reduplication--the first family (Adam and Eve), and the Holy Family (Jacob, Mary, Jesus) parodied by Mak and Gill and the stolen ram.  Christ betrayed by a kiss, the ram discovered by a kiss.  Both Mak and Gill swear to eat their "baby" if they are lying (parody of Mass).  Mak works magic on the sleeping shepherds to steal the ram (parody of priest's blessings).
--three gifts parallel gifts of the three magi.
--Mak as descended from the allegorical character of Vice, as perhaps representative of the devil (like a thief in the night).
--Each shepherd from a different stage in life: old man, young man, youth.
--Mak's cottage serves on stage (perhaps) as Holy Stable.
--Poetic form: bob and wheel, rhyme scheme: ababababcdddc. 13 line stanza, 2/3 syllable bob, 4 line wheel.

Some reading questions for Second Shepherds' Play

1) Define the concept of transubstantiation and explain its significance to the metaphor of the lamb. What kind of food does the lamb in both its senses provide?
2) Explain how and why the shepherds discover their lost sheep.
3) What punishment do Mak and Gill receive for their crime, and why are they punished as they are? (Quoted from http://parallel.park.uga.edu/~crice/kempe.html)

 

The Second Shepherd's Play is a delightful comedy, suitable for children, which is based on Luke 2:8-18 from the New Testament of the Holy Bible.

It tells the story of three shepherds, Coll, Gib and Daw, who are minding their flocks while complaining, ad nauseum, about the circumstances of their lives, each other, and their arch rival, Mak, who has a reputation for stealing sheep. Mak passes by them, trying to disguise his look and voice, but they call him out and he finally has to admit his true identity. The sun has just set and the shepherds are not about to let Mak out of their sight. He implores them to let him go because he has urgent business. They, however, insist that he sleep between them so that he won't be able to get away without them knowing about it.

But Mak casts a magic spell over the shepherds which puts them into a deep slumber while he makes his escape -- and, of course, he picks up a small sheep on his way out. Mak takes the sheep back to his cottage where Gill chews him out for making such a ruckus in the middle of the night. Just to be on the safe side, they decide to conceal the young sheep in a baby's crib and to pretend that Gill has just given birth to a newborn son. Mak returns to the shepherds, so that won't suspect anything.

The three shepherds wake from their slumber and discover that both Mak is right where they left him the night before. Mak tells the shepherds that he's had a dream in which he saw his wife, Gill, giving birth. After Mak leaves them, the shepherds count the sheep in their flock and discover that one is missing. Mak, of course, is their prime suspect. They traipse off to Mak's house to accuse him of sheep stealing. At first, they're fooled by Mak and Gill's ruse. But suddenly it dawns on them what's really happening. After reclaiming their sheep and deciding on a suitable punishment for Mak, the shepherds make their way back to their flocks.

Suddenly, they are confounded by the appearance of an angel in the heavens singing "Glory to God in the highest, and on earth, peace, good will towards men." The angel tells them of a child born in Bethlehem who will be a Saviour for all men. In complete awe and wonder at what they've just seen and heard, they set off for Bethlehem. Once there, they marvel at Mary, Joseph and the Christ child. The shepherds dance and sing songs to entertain the newborn babe and offer him gifts from their meager possessions.

The Second Shepherd's Play is a Medieval Miracle Play which was first written and performed around 1440 AD. For more information about this period of history, we recommend visiting:

[Back to Second Shepherd's Play Index]

 

Medieval Theatre

Resources

Text...

Robert Cohen. Theatre, 4th edition: "The Middle Ages," page 101 to 126.

Plays...

Wakefield Cycle. The Second Shepherd's Play
The Passion Play
Everyman

1. What medieval institution is credited with the rebirth of western theatre?

The Christian church.

2. What was a tropes?

The tropes were dramatic insertions into the high mass. Probably the most significant of these short playlets was the Quem Queritis, "Whom Seek Ye." The complete four line text is printed on page 102 of Cohen's Theatre. English instructions on the staging of this tropes can be found on page 103.

3. During which Christian festival were these early playlets performed?

Easter.

4. What was the source of the stories which were dramatized?

The Bible.

5. How were these plays staged inside the church?

They were staged on a number of small "platforms" distributed around the edge of the church. Both the actors and the audience would move from one "platform" (or scene) to the next. See the illustration on page 105 of Cohen's Theatre.

6. What was a mansion or station?

The mansion, or station, was the scenic facade placed at the back of the "platform." They were used to locate the action.

     The plateau?

The plateau was the "platform" on which the actors performed.

7. Who were the actors?

The priests.

8. Why, during the 13th century, were these plays moved out of the church?

Because the plays were getting to complicated to produce within the confines of the church building. Also because the production of these dramas was beginning to interfere with the other services of the church.

9. Who produced the mystery plays after they left the church?

The trade guilds. These were medieval unions.

10. What is a pageant wagon?

A pageant wagon held the mansion (scenic facade), the plateau (playing area), and a dressing area on one structure. This wagon would then be moved from one gathering of audience to the next, much like a float in a parade. See the illustration on pages 108-109 of Cohen's Theatre.

    In which country was it used?

England.

11. What is the difference between a mystery play, a miracle play, and a morality play?

Mystery play: The plot and characters were drawn from the books of the Bible. It was the major form of Medieval drama. The best examples are the cycle plays of England.The York Cycle contained forty-eight short plays, and was performed over several days. Of the forty-eight plays from the York Cycle, eleven deal with the Old Testament (from the Creation to the crossing of the Red Sea), thirteen cover the period from the Annunciation to Palm Sunday, twenty-three cover the final week of Christ's earthly life and His Assumption into Heaven, and one describes Judgement Day. A complete listing of play titles and the producing guilds can be found on pages 110-111 of Cohen's Theatre.

Miracle play: built its plot around the lives and the works of the saints. They were usually performed on the saint's feast day. Some of the scripts were biblical, others were not.

Morality play: These dramas were based on the spiritual trials of the average man. They formed a bridge between the Medieval religious plays and the secular dramas of the Renaissance. The plays were allegories about the moral temptations which beset every man. The location was in every man's soul. The action of the drama was the battle between good and evil to posses man's soul.

12. Give a specific example of a mystery play? Of a morality play?

Mystery play: The Second Shepherd's Play from the Wakefield Cycle or The Passion Play. Probably the most famous Passion Play is the Oberammergau (Germany) Passion Play which has been presented every ten years since the middle of the 17th century.

Morality play: Everyman. Everyman is visited by Death. He is told that he can take one friend with him on his long journey. He approaches Fellowship, Kindred, Cousin, Goods, Knowledge, Discretion, Strength, Beauty, and Five Wits. All refuse. Only Good Deeds will join him on his journey. The moral is obvious.

Theatre Home Page

 

E-mail questions and comments to Larry Wild at wildl@wolf.northern.edu.
Last updated: April 1, 1998
ⓒ 1995-1998 by Larry Wild, Northern State University, Aberdeen, SD.

 

First Shepherds' Play


Team Members: Marta Juzwiak, Ellen Kartz, and Kate Korman.

This play, written by the "Wakefield Master,"and begins the first of two 'Shepherd's plays. The shepherds in question are those to whom the angel of the Lord appears on the night that Jesus is born. Because the shepherds have no specific religious function in the cycle as a whole, they are used in a primarily comic role. Thus, the shepherd's plays are some of the best loved in the cycle.



*View the First Shepherd's Play in a framed document with linked gloss and annotations. http://www.acs.ucalgary.ca/~scriptor/towneley/plays/prframe.html

The Second Shepard's Play made in VHS video by Santa Fe Studio

 

신의 목소리, 인간의 목소리:

 

[첫 번째 목자극]과 [두 번째 목자극]에서 들리는 두 개의 목소리*1)

 

최 예 정

http://www.sogang.ac.kr/~anthony/mesak/mes092/04ChoiYJ.htm

I. 두 개의 목소리

 

흔히 ‘REED 사업’(Records of Early English Drama project)이라 불리는 중세 드라마 학자들의 최근의 집단적 연구 노력은 중세 드라마 연구사에 하나의 큰 획을 긋는 작업이라 할 수 있다. 이 사업은 중세 드라마와 관련된 기록물들을 체계적으로 발굴하고 출판함으로써 중세 드라마의 역사에 대한 실증적 복원을 시도하고 있다. 이들의 연구성과에 힘입어 중세 드라마에 관한 많은 새로운 발견들이 이루어졌다. 이는 중세 드라마에 대한 기존의 전제들이 크게 흔들리게 되었음을 뜻하기도 한다. 가령 싸이클 드라마가 정말 싸이클의 형태로 공연되었는지, 매년 공연되었는지, 그리고 공연은 어느 시기까지 계속되었던 것인지, 집필자는 누구였는지 등 중세 드라마의 성격을 연구하는데 있어서 핵심적이라 할 수 있는 여러 문제들에 대한 종전의 통념들이 크게 흔들리게 된 것이다. 한편 평단 일각에서는 그러한 실증적 연구의 실효성과 이데올로기적 배경에 의문을 제기한다. 이 비평가들은 남아있는 기록은 궁극적으로는 모두 지배 이데올로기와 연관을 맺고 있는 역사서술의 일환일 뿐이며, 이 기록들이 연극 공연을 도시 지배 집단의 통치술과의 관련성 속에서 해석하는 집단의 서술이라는 점을 잊은 채 ‘순수한 역사’를 복원하려는 노력은 환상이라고 경고한다.2) 중세 드라마에 대한 기존의 많은 생각들이 사실상 ‘신화’였음을 입증한다는 점에서 실증적 역사 서술을 위한 노력이 큰 의미가 있음은 분명하다. 그러나 그러한 접근법에 매몰될 때 실증적 역사서술로 드라마의 문학적 성과와 공동체 속에서의 공연의 의미를 대치하는 오류를 범할 가능성이 있다는 것도 분명하다. 그렇다면 이러한 상황에서 우리는 중세 드라마에 관해 무엇을 말할 수 있을 것인가.

 

한 가지 말할 수 있는 것은, 싸이클 드라마가 이제까지의 가설과는 달리 르네상스 중기까지 공연되었고 싸이클 드라마가 싸이클로 공연된 것이 아니라 개별 에피소드들의 공연 형태를 취했다 하더라도 (물론 이 점에 대해서는 학자들간의 이견이 상당히 있다) 여전히 변함없이 남는 사실은 있다는 점이다. 즉 싸이클을 구성한다고 생각했던 에피소드들은 여전히 하나씩 존재하고 있고 각각의 에피소드에서 그 나름의 의미를 찾을 수도 있다. 또한 각 에피소드를 도시의 길드 조직들이 하나씩 맡아서 공연했다는 사실도 변함없이 남아 있다. 공연되었던 장소가 대부분 영국 북부 도시들에 집중되었다는 점에도 학자들의 의견이 일치한다. 또 종교적 길드보다는 상공업자들을 주축으로 하는 시민 길드들이 도시의 자치권을 획득한 후 이들 도시들이 자신들의 정체성을 확립하려 할 때 싸이클 드라마(물론 이제는 더 이상 싸이클이라 부를 수 없다고 주장하는 학자들이 있겠지만)가 공연되었다는 점도 큰 이견 없이 받아들여진다. 종교적 길드나 성직자 계층이 통치의 주도권을 갖고 있는 도시와는 달리 상공업 길드가 도시의 통치권을 쥐게 된 도시의 통치계급이 자신들도 성직자들 못지 않게 시민들의 종교 교육을 훌륭히 감당할 수 있다는 점을 증명하기 위해 싸이클 드라마를 공연했다는 설명은 상당히 설득력이 있다.(Clopper, 138-68) 이렇게 본다면 중세 드라마의 공연 양식과 공연 연대 등에 관한 여러 새로운 발견과 가설들에도 불구하고 여전히 중세 드라마에 대해 말할 수 있는 것들이 상당히 남아 있음을 알 수 있다.

 

성직자가 아니 생업을 갖고 사는 시민들이 연극의 배우와 연출가가 되었고 심지어는 작가가 되었을 수도 있다는 사실은 싸이클 드라마의 성격 구명에 있어서 중요한 단서를 제공한다. 즉 싸이클 드라마가 종교극의 형식을 따르고는 있지만 성직자와는 상이한 관점을 지닌 집단이 공연의 책임을 지고 있고 관객의 대다수를 이루기 때문에 성직자 중심의 관점에서 본 기독교와는 다른 모습의 종교 해석을 보여 줄 가능성을 다분히 안고 있다는 점이다. 속인들이 극의 생산과 소비의 중심부를 이루는 상황에서 연극이 준비되고 공연될 때 종교 교육이라는 본래의 목적 못지 않게 다양한 의미가 결집, 분출되었으리라는 점은 누구나 쉽게 짐작할 수 있다. 교회가 가르치는 교의적, 교리적 관점이 싸이클 드라마에서 표출되는 동시에 이것과는 구별되는 일반 신도들의 관점이 어떤 형태로든 드라마에 표출된다. 전자를 극의 수직적 목소리 혹은 신의 목소리라고 명명한다면 후자는 전자와 구별되는 관점으로서 극의 수평적 목소리 혹은 인간의 목소리라고 말할 수 있을 것이다. 그리고 이러한 두 관점 중 어떤 것이 극을 장악하느냐 여부에 따라 그 드라마의 성격은 확연히 달라질 수 있다.

 

이러한 관점에서 볼 때 타운리 싸이클의 몇몇 에피소드들, 특히 웨이크필드 매스터가 썼다고 여겨지는 에피소드들은 새로운 의미를 띠게 된다. ‘웨이크필드 매스터 표’라고 부를 수 있는 9행 연구에 cdddc의 압운 형식이라는 독특한 시작법(prosody)으로 쓰여진 6개의 극―"노아"Noah, [첫 번째 목자극]The First Shepherds' Play, [두 번째 목자극]The Second Shepherds' Play, "헤롯"Herod,  "희롱"Buffeting, "아벨 살해"Killing of Abel―은 같은 에피소드를 다루는 다른 싸이클의 극들과 비교해 볼 때 희극성이 두드러진다. 가령 싸이클 드라마의 원조격으로 생각되는 요크 싸이클이나 비교적 정돈된 형태를 띠고 있는 체스터 싸이클의 목자극은 전반적으로 엄숙하고 경건한 분위기를 자아내면서 교회의 정통 교리를 충실히 전달하려고 노력하는 것처럼 보인다면, 웨이크필드 매스터 표가 찍혀진 극들은 관객들에게 웃음과 재미를 선사하는 요소들이 많이 등장하고 훨씬 덜 엄숙하다. 그리고 이러한 희극적 요소들은 상당 부분 동시대의 평범한 삶을 살아가는 신도들의 목소리가 들어와 있는데서 기인한다. 구세주 예수의 탄생 축하라는 목자극 본연의 메시지와 함께 속인들의 삶의 경험과 고민들이 삽입되면서 경건, 엄숙을 특징으로 하는 경배와 제식적인 의미, 수직적 목소리와는 확연히 구분되는 또 다른 목소리, 수평적 목소리를 듣게 되는 것이다.

 

웨이크필드 매스터의 작품들 중에서도 그 생기발랄함과 희극적 요소로 인하여 많은 현대 독자들의 사랑을 받고 있는 ꡔ첫 번째 목자극ꡕ과 ꡔ두 번째 목자극ꡕ은 수직적 목소리와 수평적 목소리의 교차라는 T싸이클 드라마의 특징을 가장 확연하게 보여주는 극이라 할 수 있다. 울프(Rosemary Woolf)와 같은 비평가는 이 극들이 지닌 희극성을 비판하면서 이 극들이 싸이클 드라마의 규범을 어기고 있으며 ‘소극(farce)의 제단 위에 일관성을 희생예물로 바쳐’ ‘보다 생기 있게 되기는 했으나 덜 통합된’ 극이 되고 말았다고 비난하기도 한다.(Woolf, 805. Jack. 104-5.) 그러나 ‘보다 생기 있게 되기는 했으나 덜 통합된’ 극이 되었다는 목자극에 대한 비판이야말로 사실상 중세 말기 영국 북부 도시 공동체라는 구체적 역사 현실 속에서 이 드라마가 갖는 의미와 기능을 역설적으로 똑바르게 지적한다고도 볼 수 있다. ‘싸이클 드라마는 종교극’이라는 형식 논리에 집착한다면 준엄하고 진지한 교회의 목소리 이외의 것은 모두 불순물로 여겨지게 되고 따라서 문학적 가치도 없다는 결론에 도달할 수도 있다. 그러나 이질적인 목소리는 바로 그 존재 자체만으로도 소중할 수 있으며 더욱이 종교극에서 그러한 목소리를 확인하는 것은 종교에 대한 속인들의 의식을 반영 혹은 형성하는 귀중한 기록이라는 관점을 취한다면 과거의 결함은 더 이상 결함으로 존재하지 않게 된다.

 

 

II. 수평적 목소리: 인간의 목소리

 

타운리 싸이클의 목자극의 희극성이 어디에서 유래하는지를 살펴보면 우선 그 문체가 중요한 한 가지 요인임을 알 수 있다. 요크 싸이클이나 혹은 그보다는 좀더 코믹한 요소들을 담고 있는 체스터 싸이클조차도 제의적 드라마와 크게 구분되지 않는 어투를 사용하여 장중한 분위기를 만들어 낸다면 타운리 싸이클의 목자들은 일상생활에서 주고받는 구어투의 대화체 문장들을 주고받는다. 배우들이 일상생활에서 구사했음직한 표현들이 그대로 극에서 등장하는 것이다. 이런 대사에는 고통스런 현실의 삶 속에서도 서로 벗하며 즐기는 민중들의 삶의 해학이 녹아 들어가 있다. 생기 있는 유머, 활기찬 두운, 토속적이고 세상살이의 맛이 느껴지게 하는 속담들, 끝없이 쏟아져 나오는 거침없는 단어의 나열 등은 사실상 이 극의 집필자의 탁월한 언어 구사력을 증명한다. 이러한 언어가 안고 있는 활력과 재치는 극의 희극적 분위기를 북돋아 준다. 가령 [두 번째 목자극]에서 두 번째 목자가 자신의 결혼생활을 한탄하며 부인의 말을 다음과 같이 묘사할 때 그 구어체―사실은 어휘의 다양성과 운율의 통일성, 그리고 파찰음의 반복이라는 고도의 수사적 장치들이 결합되어 있는 언어―가 거두는 희극적 효과는 매우 크다.

 

바보같은 코필, 우리 암탉은 앞으로 뒤로

꽥꽥거리지.

그러나 그녀가 꼬꼬댁 울거나

신음소리를 내거나 아니면 꼬끼오 소리를 내면

우리의 수탉, 아이고 불쌍하기도 하지,

왜냐면 그놈은 이제 착꼬에 갇힌 신세니까.

 

Sely Copyle, oure hen, both to and fro

She kakyls;

Bot begin she to crok,

To groyne or to clok,

Wo is him is oure cok,

For he is in the shakyls. (67-72)3)

 

서로 엇비슷한 학식이나 재산․신분을 지닌 평범한 촌부들이 자기 신세를 한탄하는 이 대사 속에는 고단한 삶 속에서도 웃음을 찾으며 서로 의지하고 사는 민초들의 인정어린 면모, 그리고 재치와 해학이 드러난다. ‘종교극’하면 떠오르는 피안의 세계의 초월성, 감히 도달할 수 없는 지존하신 하나님의 존재 앞에서의 두려움 이러한 것들과는 무관하게 자신이 발 딛고 서있는 현실 세계의 모습이 현실 세계의 언어로 등장한다. 시끄럽게 울어대는 암탉과 수탉은 촌부들의 삶, 저자거리의 인생에 대한 비유로서 당당히 극 속에 자리를 잡는다.

 

속인들의 삶의 목소리가 드러난다는 점은 타운리 싸이클의 목자극에서 속인들이 서로를 골려먹기도 하고 놀리기도 하면서 또 흥겹게 서로 어울리기도 하는 장면 속에서 분명히 보여진다. [첫 번째 목자극]에서 사실은 존재하지 않는 양을 놓고 양들이 갈 수 있도록 길을 비켜 달라면서 첫 번째 목자 집(Gyb)과 두 번째 목자 쟌 혼(John Horne)이 실랑이를 벌이는 장면은 그 좋은 예라 할 수 있다. 가르시오(Jak Garcio)는 이들의 실랑이를 놓고 고담의 바보들(Fools of Gotham)의 예화를 인용하며 꾸짖고 있는데, 이와 같이 아무 것도 아닌 일을 놓고 수선스럽고 왁자지껄하니 판을 벌이는 것도, 그리고 이것을 비웃으며 심통스럽게 판을 깨는 것도 모두 민초들의 삶의 모습이라 할 수 있다. 가난한 삶의 고통과 그것을 해학으로 해결하는 민중들의 삶의 모습이 그대로 극 속에 투영된다. 타운리 싸이클의 목자극은 배우와 관객 모두의 직접적인 삶의 경험을 감싸 안는다. 고답적이고 추상적인 교회의 가르침이 아우를 수 없는, 그러기에 고상한 종교문학에서는 표현할 수 없는 평범한 사람들의 삶의 모습이 목자들의 대화를 통해 표출되고 있는 것이다. 그리고 이 과정에서 등장하는 해학은 이들의 삶을 비웃고 무식을 경멸하는 종류의 것이 아니라 자신들의 어수룩함조차도 꾸밈없이 드러내고 바로 그런 표현 속에서 즐거워하는 건강한 웃음이다.

 

이러한 웃음은 가령 카인처럼 부도덕하고 신에게 불순종하는 인물의 행동거지를 청중들이 비웃을 때 나오는 웃음이나, 헤롯처럼 사탄적인 인물이 자신의 위대함을 자랑하지만 결국 하나님의 계획과 섭리로 인해 그의 도모가 허사가 된다는 것을 청중이 미리 예측하고 있기 때문에 나오는 웃음과는 성격이 다르다. 알레고리적, 신학적, 도덕적 해석의 틀에 의존하지 않고도 자연발생적인 웃음을 지을 수 있는 장면이 많이 발견된다는 점이 타운리 싸이클의 목자극들의 또다른 특징이라 할 수 있다. 가령 [두 번째 목자극]의 맥(Mak) 에피소드에서 재미있는 점은 무엇보다도 맥과 그의 아내 질이 생각해 낸 묘안의 기발함, 그 묘안을 실행하는 과정에서의 수선스러움, 그 묘안이 들키는 과정에서의 예상치 못한 반전, 그리고 들켰을 때 이 부부가 짜낸 변명의 또 다른 기발함 등이다. 즉 재치와 반전이 어우러지면서 양을 도둑맞고 혹은 도둑질한 것이 발각된다는 위기상황을 어떻게 해결해 나가는지를 보여주는 과정에서 주로 웃음이 발생하는 것이다. 양 도둑질이라는 상황이 당대의 배우나 관객 모두에게 너무나 익숙한 상황이며 일상생활에서 매우 심각한 문제를 야기할 수도 있는 것이지만 이 순간 극에서 재현되는 세계는 그 문제에 추상같은 판단의 잣대를 들이대는 엄격성을 지닌 현실적 세계가 아니라 오히려 어려운 상황을 이겨내고 풀어내는 축제적 희극의 세계이다.

 

타운리 싸이클의 목자극이 축제적 희극의 세계를 창조한다는 점은 [첫 번째 목자극]의 향연 장면에서도 다시금 발견된다. 고담의 바보들의 예화를 인용하는 가르시오의 꾸짖음으로 두 목자들의 한 판 놀이는 흥이 깨지게 되지만, 그렇다고 이들이 고달픈 현실에 그대로 주저앉지는 않는다. 이들의 식사는 문자 그대로 만찬이고 향연이다. 이들의 목자의 식사 메뉴와 영주의 식사 메뉴가 뒤섞인 음식들의 이름을 나열하고 내놓으면서 음식을 즐긴다. 사실 체스터 싸이클의 목자극에서도 향연 장면이 나오기는 하지만 이때 나열되는 음식들의 이름은 모두 당대 목자들의 식사 메뉴에 속한 것이었다. 이런 의미에서 이들의 식사는 제아무리 많은 음식들을 늘어놓는다 하더라도 현실적 성격을 띠는 것으로서 현실의 제약을 넘어서는 상상적 세계라고 할 수는 없다. 그런데 타운리 싸이클에서의 목자들의 식사는 그 성격이 다르다. 이들의 식사에 대해 헬터만(Jeffrey Helterman)이 ‘그로테스크한 식사’라고 명명하는데 이 표현은 적확하다. 이 목자들은 평민들의 식단부터 귀족 계층, 특히 미식가의 식단까지 망라하는 여러 음식들을 포함하는 식사를 즐기도 있기 때문이다.(85) 바흐찐의 축제적 향연을 연상시키는 이 장면은 바로 공식적인 것, 숭엄한 것들이 지배하는 세상에서 소외된 가난하고 어려운 속인들이 자신들의 삶의 고통을 잊고 초월할 수 있게 만드는 축제적 희극(Munson, 192-200)으로서의 목자극의 성격을 잘 보여준다.

 

이 목자극들이 이러한 축제적 희극의 성격을 띠고 있다고 해서 이 연극들이 평범한 일반 신도들의 삶의 현실을 외면하는 것은 결코 아니다. 오히려 이들의 삶의 고통을 가감없이 드러내고 있고 그 고통 속에서조차 웃음을 발견하기 때문에 더욱 축제적인 느낌을 자아내기도 한다. 타운리 싸이클에서는 [첫 번째 목자극]과 [두 번째 목자극]에서 뿐 아니라 ꡔ아벨 살해ꡕ나 ꡔ노아ꡕ와 같은 극에서도 인생살이의 어려움을 실감나게 토로하는 장면들을 삽입함으로써 평범한 사람들의 삶에 관한 현실적 관점에 목소리를 부여한 바가 있다. 타운리 싸이클의 목자극에서는 주로 목자들의 불평을 통해 현실에 대한 평민들의 시각을 대변한다.

 

목자들이 신세타령을 하는 장면은 타운리 싸이클뿐 아니라 체스터 싸이클에도 등장한다. 체스터 싸이클에서는 양의 질병, 가난, 험악스런 부인 등 ꡔ두 번째 목자극ꡕ에 등장하는 불평 목록이 대부분 등장한다. 그런데 [두 번째 목자극]의 경우 각각의 목자의 불평의 주제가 분화되어 있고 극 전체를 통해 일관되게 나타나 불평이 더욱 강도 높게 느껴진다. 또 매우 구체적으로 서술되어 있어서 이들의 불평이 더 현실감 있게 다가온다. 반면 체스터 싸이클의 경우에는 위에 언급된 주제들이 여러 목자의 입에서 섞여 나와 한 목자의 불평의 성격이 분명히 부각되지 못한다. 그래서 이 장면은 특별히 희극적이지도 않고 그렇다고 사회비판적 성격이 강하게 드러나는 것도 아닌 어정쩡한 불평이 되어 버렸다. 목자들의 불평의 핵심이 모호해지면서 불평의 강도와 깊이는 훨씬 적게 느껴진다. 게다가 체스터 싸이클의 목자들은 마치 극의 결말부에서 성직자 혹은 은거자가 될 것을 예감하는 듯, 불평을 하면서도 계속해서 위안거리를 스스로 찾아내고 있다는 점이 타운리 싸이클의 목자들의 불평과 크게 다른 점이다.

 

체스터 싸이클의 [목자극]에서 목자들은 식사하기에 앞서 “자 이제 하나님께서 우리를 모아주셨으니 기쁜 마음으로 나는 그분께 은혜를 감사드리겠네.”(Now sithen God has gathered us together,/ with good heart I thank him of his grace. 97-98) 4)라고 말한다. 음식물을 앞에 놓고 그 이름을 나열하며 식사 자체에 몰입해서 하나님에 대해서는 생각해볼 여유조차 없는 것처럼 보이는 타운리 싸이클의 목자들과 비교해볼 때 체스터 싸이클의 목자들은 훨씬 경건하고 차분하다. 이들은 식사자리를 마련해주신 하나님께 감사를 드리고 조촐한 음식을 먹으면서도 감사하는 마음을 잊지 않는다. 또한 이들은 누추한 잠자리에서도 천상의 기쁨을 생각하며 인내하고 감사하는 태도를 보인다. 가난을 불평하면서도 목자들은 조촐한 식사 속에서 기쁨을 찾고, 하늘을 이불 삼아 노숙의 생활 안에서 나름대로 감사거리를 찾는다. “우리 머리 위에 하늘이 있으니 이 땅에서는 거할 곳이 충분히 있는 셈이오.”(Housing enough have we here/while that we have heaven over our heads. 149-150) 라고 말하는 이들은 양치기로서의 고단한 삶 속에서도 스스로를 위안하며 감사할 내용을 찾는 겸손한 그리스도인의 태도를 보인다.

 

자, 이제 우리가 바라던 것을 모두 가졌소.

왜냐하면 이 세상에 나처럼 행복한 사람은 없으니 말이요.

그러니 우리 맑은 목소리로 노래를 부릅시다.

우리에게 기쁨을 주는 즐거운 노래를 말이요.

 

Now, sith I have all my will―

for never in this world so well I was―   

sing we now, I read us, shrill

a merry song, us to solace. (450-3)

 

남루한 옷을 입었으나 즐거이 노래하는 이러한 모습 속에서 이들이 불평하는 현실의 고통과 아픔을 느끼기는 어렵다. 그보다는 오히려 이들의 삶의 척박한 모습은 구세주의 출현을 필요로 하는 인류의 모습을 예표적으로 보여주기 위한 ‘장치’라는 생각이 더 많이 든다. 즉 교회에서 시민들에게 설교하고 싶어하는 메시지를 연극이라는 매개체를 통해 보여주려 한다는 목적의식이 강하게 드러난다. 그리스도의 빛을 더 빛나게 하기 위해서는 어둠과 암울함이 있어야 하듯이 메시아 탄생의 기쁨을 강조하기 위한 장치로서 목자들의 불평이 필요했을 뿐이라는 느낌을 주는 것이다. 즉 체스터 싸이클의 ꡔ목자극ꡕ에서는 배우와 관객들의 현실적 고민을 반영하고 이들의 목소리를 수평적으로 반영하기 보다는 수직적 메시지가 주종을 이루는 양상을 보인다.

 

한편 타운리 싸이클의 [첫 번째 목자극]은 이와는 다른 양상을 보인다. 이 극에서는 크게 두 가지의 구별되는 성격의 불평이 혼재한다. 즉 첫 번째와 두 번째 목자의 대사에서 ‘비가 오나 날씨가 좋거나’ ‘기분이 좋거나 절망 중에 있거나’ ‘기쁘거나 슬프거나’ 식의 대구들이 반복적으로 등장한다는 사실에서 유추할 수 있듯이, 이들은 인간의 유한성 때문에 시대를 초월하여 인간이 겪을 수밖에 없는 보편적인 어려움을 불평한다. 다른 한편으로는 이들 목자들은 타운리 싸이클 공연의 주체이자 관객인 15세기 영국 북부 지방의 평범한 농민들이 겪을 법한 어려움들, 가령 영지 관리인이나 지주와 차지농간의 갈등 등을 불평한다. 즉 보편적, 초역사적인 문제에 대한 불평과, 당대에 첨예하게 이해관계의 대립양상을 보이던 역사적인 문제에 대한 불평이 동시에 등장하는 것이다. 이러한 불평은 궁극적으로는 앞서의 체스터 싸이클의 경우처럼 구세주의 존재가 강력히 요망되는 시대적 상황에 대한 암유로 읽힐 수 있다. 그러나 보다 즉각적인 효과는 당대의 역사적 현실이 구속사에 편입되면서 ‘그들의 이야기’가 ‘우리의 이야기,’ 다시 말해서 공연의 주체인 배우와 관객들 자신들의 이야기로 바뀐다는 점이다.

 

[두 번째 목자극]의 도입부의 목자들의 불평장면에서는 당대 속인들의 삶의 갈등 상황이 훨씬 더 구체적으로 제시된다. 주로 지주와 소작농과의 관계와 영주의 지배권 문제를 이야기하는 첫 번째 목자의 불평은 타운리 싸이클이 상연되던 시기의 역사적 경험을 구체적으로 드러낸다. 결혼생활의 어려움, 특히 괄괄한 아내와 살며 겪는 어려움을 토로하는 두 번째 목자의 불평은 "노아"에서부터 익히 보아왔던 것이다. 이러한 불평은 중세의 반여성적 문건들을 통해서 지속적으로 전파되어 왔던 내용이기 때문에 특징적으로 이 시대와 지역 특유의 경험이라고 보기는 어렵다. 그러나 이러한 불평을 성직자가 아닌 속인들이 공연하게 되면 그 대사가 매우 생동감 있게 들렸으리라는 점은 익히 짐작할 수 있다. 특히 서로의 가족 관계까지 훤히 꿰뚫고 있는 동네 사람들끼리 공연을 하고 볼 때 이러한 대사가 빚어낼 희극적 효과는 무척 컸을 것이다. 극중의 불평은 배우들의 일상의 불평과 결합되어 극중 대사가 함축하고 있을 신학적, 혹은 알레고리적 의미를 무화시키고도 남을 만한 경험적 의미를 전달했을 것이다. 즉 매우 보편적인 경험을 이야기하는 것처럼 보이는 장면에서조차도 극의 상연 주체인 일반 신도들의 삶의 목소리가 극 속으로 삽입되어 갑자기 경험적 의미를 띠게 되는 것이다. 주인과 하인의 관계의 문제를 이야기하는 세 번째 목자의 불평은 ꡔ첫 번째 목자극ꡕ의 가르시오(Garcio)의 불평과도 비견할 수 있는 것으로서 꼭 집어서 시대적 성격을 지녔다고 말하기는 어렵다. 그렇다고 해도 첫 번째 목자와의 대화의 맥락 속에서 주인이 하인을 박대하고 품삯을 제대로 주지 않는다는 그의 불평을 읽게 되면 흑사병 발발 이후 변화된 주인과 하인의 관계, 즉 품삯의 계약관계로 변화된 새로운 고용관계가 제기하는 문제점의 예후를 읽어낼 수 있다. 다시 말해서 ꡔ두 번째 목자극ꡕ은 다른 목자극에서도 등장하는 유사한 내용의 불평을 극의 소재로 끌어들이기는 하지만, 이러한 불평들을 각각의 목자에게 특징적으로 배분하는 과정에서 당대의 사회 현실을 좀 더 밀착되게 표현하고 있음을 알 수 있다. 특히 공연 당시 평소에도 이러한 불평을 자주 하던 인물이 그 역할을 맡게 된다면 그 때 불러일으킬 희극적 효과, 그리고 당대 삶의 모습을 환기하고 주목하게 하는 효과는 가히 폭발적일 수 있다. 속인의 삶을 휘어잡고 있는 당대의 변모하는 경제 조건과 가정사와 같은 일상의 문제들이 목자들의 불평이라는 매우 관습적인 모티프를 통해 극의 공연 현장에서 비로소 우렁차게 제 목소리를 내게 되는 것이다.

 

타운리 싸이클의 [첫 번째 목자극]과 [두 번째 목자극]에서는 속인들의 현실 경험의 목소리가 또렷하게 들린다. 이 목소리는 현실 세계의 어려움을 보여주는 것이면서도 동시에 그 고통에 침잠되지 않고 웃음으로 현실을 이겨내는 모습을 띠고 있다. 이러한 웃음은 삶이 어려워도 서로에 대한 신뢰와 사랑을 잃지 않고 사는 인간들끼리 빚어내는 웃음이기에, 신이 마련한 구원의 길이 있음을 깨닫고 웃는 웃음과는 분명히 다른 음조를 지니고 있다. 그렇다고 해서 이들의 웃음이 신의 웃음과 완전히 별개의 것으로 그려진다는 의미는 아니다. 때로는 신이 인간을 위해 마련해 놓은 구원의 희극과 이들의 웃음이 중첩되기도 한다. 수직적 목소리는 수평적 목소리와는 구별되면서도 교차점을 갖고 있는 것으로 그려진다.

 

 

III. 수직적 목소리: 신의 목소리

 

[첫 번째 목자극]과 [두 번째 목자극]에 등장하는 천사들의 노래는 이 극들에서 작용하는 수직적 목소리를 직접적으로 보여주는 예이다. 사실상 천사들의 노래는 앞서 목자들의 불평과 갈등이 빚어내는 불협화음과는 전혀 다른 세계의 것으로서 이들의 삶과는 어떠한 관련도 없는 것처럼 보인다. 천사의 노래는 신의 섭리에 대한 사람들의 이해/인식/의식/믿음 여부와는 상관없이 작용하고 실현되는 신의 세계가 존재함을 일깨워준다. 목자들의 목소리와는 다른 목소리가 들리는 것이다.

 

그런데 극 속에서 가난하고 무식한 하층 계급으로 그려지던 목자들이 라틴어로 불리는 천사의 노래의 내용을 이해한다는 것은 현대 독자들의 눈으로 보면 도무지 이해가 가지 않는다. 이것은 등장인물들의 성격과 어울리지 않는 비현실적인 설정으로 보인다. 더구나 ꡔ두 번째 목자극ꡕ의 목자들은 천사의 노래를 이해할 뿐 아니라 그리스도의 탄생을 예언하기까지 한다. 현실적 관점에서는 이해가 가지 않는 이 부분을 캠벨(Thomas P. Campbell)은 중세 드라마에 제식적 형식이 투과되어 있기 때문이라고 설명하는데 이것은 매우 유효한 설명이다. 사실 타운리 싸이클의 [두 번째 목자극]에서 목자들의 예언이 너무나 비현실적이고 시대착오적이며 기독교 교리가 억지춘향 격으로 삽입되었다는 인상을 주는 이유는 부분적으로는 이 극이 앞부분에서 목자들의 삶을 매우 실감나게 재현했기 때문이라고도 말할 수 있다. 가령 같은 에피소드를 다루는 요크 싸이클의 ꡔ목자극ꡕ의 경우에는 극 전체가 성경의 기록에서 크게 벗어나지 않는 상황에서 하늘에서 내려온 천상의 목소리의 재현과 그에 대해 목자들이 경외감으로 가득 차서 순종적으로 반응하는 모습에 초점을 맞추고 있어서 천사들의 노래가 현실 삶의 경험과 교차될 때 나타나는 갈등 혹은 부조화의 모습이 크게 부각되지 않는다. 그러나 [첫 번째 목자극]과 [두 번째 목자극]은 수평적 목소리가 극의 앞부분을 주도하고 있었기 때문에 천사들의 노래 소리가 더 이질적으로 들리게 되는 것이다.

 

물론 콜비가 주장하듯이 [첫 번째 목자극]과 [두 번째 목자극]의 앞부분을 채우고 있는 여러 희극적인 장면들을 알레고리적으로 해석한다면 천사들의 노래로 대변되는 이 극의 수직적 목소리도 그다지 이질적으로 들리지 않을 수도 있다. 예를 들어 목자들이 양떼의 방목권을 놓고 다투는 장면은 평화의 왕이신 예수가 태어나 세상에 평화를 가져다주리라는 것을 알리기 위해 불화와 갈등으로 가득 찬 세상을 보여주기 위한 것이라고 알레고리적으로 해석할 수 있다. 또 목자들이 엄청나게 많은 음식을 꺼내 만찬을 즐기는 것은 그리스도의 탄생을 축하하는 의미와 예수 그리스도의 몸이 성체가 되어 신도들의 성만찬으로 바뀐다는 점을 일깨워 주기 위한 것이라는 식으로 해석할 수 있다. 이렇게 해석하면 이 극은 목자들끼리 만들어내는 희극적인 부분이든 천사들의 노래 이후 목자들이 아기 예수를 찾아가 경배하는 예식적 부분이든 결국 모두 신의 목소리의 변주에 불과하게 된다. 인간의 목소리, 인간의 웃음은 없어지고, 인간의 어리석음에도 불구하고 그들의 구원을 이루고 기뻐하는 신의 목소리만 들리는 것으로 해석할 수 있게 된다. 이렇게 해석한다면 극이 일관된 의미를 갖는 것처럼 보일 수 있다. 천사의 노래 이후 극의 톤의 변화에 당황하는 독자는 극의 ‘깊은’ 의미를 읽지 못했기 때문이라 비난받는다.

 

사실 [두 번째 목자극]의 경우 희극적 성취가 종교적 이상과 어떻게 결합되었다고 생각하는지 여하에 따라 이 극에 대한 평가가 달라지는 경우가 많고 이 극을 옹호하는 비평가들은 대부분 정도의 차이만 있을 뿐 맥 에피소드를 둘러싼 목자들의 소동이 결국에는 그리스도의 구원의 예표라는 해석에 기대는 경향이 있다. 이 극의 희극성을 알레고리적 측면에서 옹호하는 전략을 사용하는 것이다. (Kolve, 6장 7장) 그러나 문제는 이런 해석을 듣는다고 하더라도 여전히 해결되지 않는 점들이 있다는 것이다. ꡔ첫 번째 목자극ꡕ과 ꡔ두 번째 목자극ꡕ의 희극성의 특징은 어느 한 쪽의 웃음이 다른 한 쪽의 웃음을 완전히 포섭, 전용할 수 없다는 점에 있다. 가령 ꡔ두 번째 목자극ꡕ에서 맥과 질 부부가 양을 숨기는 장면에서 맥이 적 그리스도, 혹은 사탄으로 해석될 소지를 안고 있는 것은 사실이다. 그래서 결국 그의 술수가 발각되는 장면을 신의 희극의 실현으로 바라볼 수 있는 측면도 존재하기는 한다. 그러나 이 장면이 자아내는 재미를 모두 이러한 신의 희극의 개념으로 설명해 낼 수는 없다. 목자들이 애초에 제기했던 삶의 고민들과 그 불평의 현실감, 그러면서도 웃음으로 삶의 문제를 넘어서는 이들의 활력, 이러한 것들은 신의 관점만으로 설명되지 않는다. 알레고리적 해석은 극을 매끄럽게 보이도록 만들기는 하지만 그 매끈함은 극에서 묵직한 의미를 갖던 부분들을 희생함으로써 얻는 매끈함이다.

 

타운리 싸이클의 목자극을 신의 관점만으로 설명해서는 안된다고 말하는 것은 이 극에서의 신의 목소리의 무게와 중요성을 부인한다는 뜻이 아니다. 오히려 이것은 신의 목소리와 인간의 목소리가 중첩되는 부분이 있음을 인정하면서도 동시에 신의 희극과 인간의 희극이 분명히 구분되는 지점이 있음을 뜻한다. 다시 말하면 인간의 모든 약점에도 불구하고 인간을 부르고 구원하는 초월적인 신의 목소리가 제 색깔을 잃지 않으면서도, 또한 그 목소리가 평범한 신도들의 삶의 목소리를 억누르지 않는다는 것을 뜻한다. [첫 번째 목자극]과 [두 번째 목자극]에서는 수평적 목소리가 수직적 목소리에 포섭되어 그 본래 의미를 상실하는 것도 아니요, 수직적 목소리가 수평적 목소리에 의해 왜곡되지도 않은 채 사이좋게 두 목소리가 함께 들린다. 신의 목소리와 인간의 목소리가 ‘따로 또 같이’ 제 목소리를 냄으로써 인간의 삶의 체취도 나면서 동시에 이 극을 상연하는 원래의 목적―시민들의 종교 교육이라는 소임도 수행하는 새로운 드라마가 탄생한 것이다.

 

IV. 결 론

 

타운리 싸이클의 [첫 번째 목자극]과 [두 번째 목자극]은 성직자가 아닌 세속의 삶을 살아가는 사람들의 목소리를 그대로 담고 있다. 이 두 개의 목자극은 이들의 삶의 모습을 가감 없이 그러면서도 비난이나 경멸의 시선없이 전달한다. 이 극은 목자들의 불평을 통해 연극을 공연하고 관람하는 바로 그 사람들의 삶의 문제를 보여준다. 자신들의 삶의 경험을 극에 투영하는 이러한 수평적 목소리는 극의 공연과 관련한 세 주체들, 즉 작가, 배우, 관객 모두가 성직자가 아닌 속인층이라는 사실과 밀접한 관련을 맺고 있으리라고 생각된다. 물론 타운리 싸이클의 원조 격에 해당하는 요크 싸이클이나 비교적 안정된 공연 역사를 지닌 체스터 싸이클 모두 속인들이 공연의 주도권을 갖고 있었다. 그런데도 이 싸이클들에서는 속인들의 목소리가 상대적으로 덜 들리는 것이 타운리 싸이클과 다른 점이다. 이것은 앞으로의 연구 성과들을 더 지켜봐야 알 수 있기는 하겠지만, 가령 요크 싸이클의 경우에는 공연 대본이 시 집행부에 의해 보관되었기 때문에 보다 공식적인 모습으로 남게 되었던 것은 아닌가하는 조심스런 추측도 할 수 있다. 많은 중세 드라마 학자들이 현재 우리가 갖고 있는 필사본과 당대의 공연이 딱히 일치하지는 않았으리라는 의견에 동의하고 있고 대본과 연기의 관계도 현대 극단의 그것보다는 훨씬 유동적일 확률이 많기 때문이다. 그렇다면 현재 우리가 갖고 있는 타운리 싸이클의 필사본은 시의 지배층이 보관한 것이 아니기 때문에 속인들의 목소리가 제거되지 않고 그대로 남아있는지도 모른다. 아니면 웨이크필드 매스터라 불리는 사람이 특히 더 속인의 목소리에 관심을 기울였을 수도 있다. 어쨌거나 분명한 것은 [첫 번째 목자극]과 [두 번째 목자극]에는 중세 교회가 그토록 강조하여 가르치던 초월적 구원이라는 수직적 가르침에 쉽게 매몰되지 않는 수평적 목소리가 분명하고 또렷하게 들리고 있다는 점이다. 인간의 구원이라는 교회의 가르침이 극의 결말부에서 매우 온전하게 그리고 정통적 가르침에 잘 어울리게 전달되고 있기는 하지만, 그렇다고 해서 속인들의 삶의 고민과 불만이 이 초월적 목소리에 의해 완전히 무의미한 것으로 취급되어 신의 목소리에 매몰되지는 않는다. 오히려 구세주의 강림과 인류의 구원이라는 지극히 ‘평화스럽고 온건한’ 결말에도 불구하고 극을 다 읽고/보고 나면 목자들의 불평의 내용과 그 불평의 정당성이 여전히 귓결에 남는다.

타운리 싸이클의 [첫 번째 목자극]과 [두 번째 목자극]은 두 개의 다른 목소리, 현실과 초월, 삶의 고통과 구원의 기쁨이라는 영원히 해결하기 어려운 두 가지 영역의 목소리를 종교극이라는 형식 속에 담아내는 독특한 극이다. 신과 인간, 교회와 저자거리가 극이라는 공간을 통해 대등한 만남을 갖고 있다. 종교 교육이라는 거룩한 대의가 일반 신도들을 통해 수행된다는 중세 싸이클 드라마의 독특한 조건이 이러한 종교극을 가능하게 했다. 성직자가 주도하여 신학적 해석만이목소리를 내는 극도 아니고, 그렇다고 해서 성직자들의 시선으로부터 자유로워져서 개인의 삶에 대한 인문주의적 해석을 시도하는 것도 아닌, 역사적으로나 문학사적으로 애매한 전이의 지점에 타운리 싸이클의 두 개의 목자극은 자리하고 있다. 그렇기에 이 극을 그 어느 한 쪽의 목소리만을 가지고 해석하는 것은 옳지 않다. ꡔ첫 번째 목자극ꡕ과 ꡔ두 번째 목자극ꡕ은 수직의 목소리와 수평의 목소리, 신의 목소리와 인간의 목소리, 이 두 가지 목소리의 분열과 통합이 동시에 이루어지는 현장을 보여준다는 점에서 그 의미를 찾을 수 있다.

(호서대학교)

 

◈ 참고문헌

 

Badir, Patricia. "Playing Space: History, the Body, and the Records of Early English Drama," Exemplaria 1997(9) 255-280.

Briscoe, Marianne G. and John C. Coldewey eds.. Contexts for Early English Drama. Bloomington and Indianapolis: Indiana UP, 1989.

Campbell, Thomas. "Why Do the Shepherds Prophecy?" The Drama of the Middle Ages: Comparative and Critical Essays. Eds.. Clifford Davidson et. al. New York: AMS Press, 1982.

Clopper, Lawrence M.. Drama, Play and Game: English Festive Culture in the Medieval and Early Modern Period. Chicago: U of Chicago P, 2001.

Coletti, Theresa. "Reading REED: History and th Records of Early English Drama," Literary Practice and Social Change in Britain 1380-1530, ed. Lee Patterson. Berkeley: U of California P, 1990.

Farrell, Thomas J. ed. Baktin and Medieval Voices. Gainsville: U P of Florida, 1995.

Helterman, Jeffrey. Symbolic Action in the Plays of the Wakefield Master. Athens: U of Georgia P, 1981.

Jack, R. D. S.. Patterns of Divine Comedy. Cambridge: D. S. Brewer, 1989.

Kolve. V. A.. The Play Called Corpus Christi. Stanford: Stanford UP, 1966.

Mills, David. The Chester Mystery Cycle. East Lansing: Colleagues Press, 1992. Medieval Texts and Studies 9.

Munson, William F.. "Audience and Meaning in Two Medieval Dramatic Realisms,“ The Drama of the Middle Ages: Comparative and Critical Essays. Eds.. Clifford Davidson et. al.. New York: AMS Press, 1982.

Palmer, Barbara D. "“Towneley Plays" or "Wakefield Cycle" Revisited," Comparative Drama. 21(1987-88): 314-48.

Shepherd, Simon and Peter Womack eds.  English Drama: A Cultural History. Oxford UK and Cambridge, MA: Blackwell, 1996.

Sponsler, Claire. Drama and Resistance: Bodies, Goods, and Theatricality in Late Medieval England. Minneapolis and London: U of Minnesota P, 1997.

Stevens, Martin. Four Middle English Mystery Cycles: Textual, Contextual, and Critical Interpretations. Princeton, New Jersey: Princeton UP, 1987.

Stevens, Martin and A. C. Cawley eds.. The Towneley Plays. EETS Oxford: Oxford UP, 1994.

Woolf, Rosemary. "The Effect of Typology on the English Medieval Plays of Abraham and Issac." Speculum 32 (1957): 800-812.

 

 

◈ ABSTRACT

 

Divine Voice, Human Voice: Two Voices in the First and the Second Shepherds' Plays

 

Yejung Choi

 

The First Shepherds' Plays and the Second Shepherds' Plays carries two different voices: divine voice and human voice. Actually the voice of reality which can be called horizontal voice does not seem to be reconcilable to that of transcendence which can be called vertical voice. And the realm of the suffering of life is far from that of the joy of salvation. But these two worlds are set together in the First Shepherds' Play and the Second Shepherds' Play. The divine and the human, the sanctity of church and the secularity of marketplace meet each other in the space of drama. This is made possible by the seemingly paradoxical situation that religious education is conducted by lay people. These two plays provides the space in which lay people can give voice to their own concerns and interests. The meaning of the First Shepherds' Play and the Second Shepherds' Play is found in the fact that these two plays keep the two distinctive voices alive. Vertical voice does not repress horizontal voice, and human voice does not distort divine voice. These two voices are sometimes overlapped or intertwined. At other times human voice diverges from divine voice. The coexistence of these two different voices is a distinctive characteristic of these two plays.

 

 

◈ 국문초록

 

신의 목소리, 인간의 목소리:

[첫 번째 목자극]과 [두 번째 목자극]에서 들리는 두 개의 목소리

 

최 예 정

 

타운리 싸이클의 ꡔ첫 번째 목자극ꡕ과 ꡔ두 번째 목자극ꡕ은 두 개의 다른 목소리, 현실과 초월, 삶의 고통과 구원의 기쁨이라는 영원히 해결하기 어려운 두 가지 영역의 목소리를 종교극이라는 형식 속에 담아내는 독특한 극이다. 신과 인간, 교회와 저자거리가 극이라는 공간을 통해 대등한 만남을 갖고 있다. 종교 교육이라는 거룩한 대의가 일반 신도들을 통해 수행된다는 중세 싸이클 드라마의 독특한 조건이 이러한 종교극을 가능하게 했다. 성직자가 주도하여 신학적 해석만이 목소리를 내는 극도 아니고, 그렇다고 해서 성직자들의 시선으로부터 자유로워져서 개인의 삶에 대한 인문주의적 해석을 시도하는 것도 아닌, 역사적으로나 문학사적으로 애매한 전이의 지점에 타운리 싸이클의 두 개의 목자극은 자리하고 있다. 그렇기에 이 극은 그 어느 한 쪽의 목소리만을 가지고 해석하는 것은 옳지 않다. ꡔ첫 번째 목자극ꡕ과 ꡔ두 번째 목자극ꡕ은 수직의 목소리와 수평의 목소리, 신의 목소리와 인간의 목소리, 이 두 가지 목소리의 분열과 통합이 동시에 이루어지는 현장을 보여준다는 점에서 그 의미를 찾을 수 있다.

*1) 본 연구는 호서대학교 교내 연구비의 지원으로 이루어졌음.

2) REED 사업에 대해 비판적 시각을 보이는 대표적 학자들로는 Simon Shepherd, Theresa Coletti, Patricia Badir를 들 수 있다.

3) 타운리 싸이클의 ꡔ첫 번째 목자극ꡕ과 ꡔ두 번째 목자극ꡕ의 텍스트로는 Martin Stevens and A. C. Cawley eds. The Towneley Plays를 사용. 앞으로 극을 인용할 때에는 본문 내에서 괄호 안에 행수만 표기함.

4) 판본은 David Mills, The Chester Mystery Cycle, East Lansing: Colleagues Press, 1992. Medieval Texts and Studies 9. 사용. 행수는 괄호 안에 표기.