Library lull C43p Chicago University Department of English A Prograa Illustrating the Chief Types of Drama Before Shakspere THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES Ijai^spere Cercentennial Celctjration THE DEPARTMENT OF ENGLISH LANGUAGE AND LITERATURE al THE UNIVERSITY OF CHICAGO FRIDAY EVENING, FEBRUARY 25, 1916 A 'Program Illustrating the Chief Types of 'Drama before Shal^spere CHICAGO. ILLINOIS IN THE production of the plays on the program this evening Associate Professor C. R. Baskervill, Chairman, Professor W. D. MacClintock, Professor A. H. Tolman, and members of the Faculty on the other com- mittees formed the general committee. Professor R. M. Lovett has had charge of management and finance, assisted by Associate Professor J. W. Linn. Dr. J. Lewis Browne, organist and director of music of St. Patrick's Church, presents the Sponsus with a select chorus of his choir. Associate Professor P. H. Boynton has directed the production of The Second Shepherds' Play. Associate Professor D. A. Robertson, with the assistance of Mr. Frank Hurburt O'Hara, has directed the production of Nice Wanton, and has arranged the stage setting. Mr. Hamilton Coleman has been in charge of the rehearsals of The Second Shepherds' Play and Nice Wanton, and has kindly acted as stage manager. Miss Mary Wood Hinman has revived the dances for the Jig, and presents the play with a group of her students. Miss Elizabeth Root has arranged the music of the Jig. Mrs. Lyman A. Walton has had charge of the costuming for the last three plays, assisted by Mrs. C. R. Baskervill, Mrs. P. H. Boynton, Miss Charlotte Foss, Mrs. R. L. Lyman, and Mrs. D. A. Robertson. Mrs. R. M. Lovett, assisted by Miss Antoinette Hollister and Mr. Maurice Block, has had charge of the properties. Mrs. H. G. Gale has assisted in the music of the program. In the selection of material, colors, and designs for the costumes, the effort has been to make the costumes, as far as possible, historically correct for the era, the rank of the character, and the occasion. Old cuts and paintings, and de- scriptions taken from literature contemporary with the different plays have been used. If the limitations of stage production in Leon Mandel Assembly Hall did not make it impossible, realistic backgrounds for each of the four plays might have been used; a cathedral choir for Sponsus; a cathedral nave, a churchyard, or a town square for the second play ; a pubUc square or a school hall for Nice Wanton; and an Elizabethan stage for the Jig. Such a variety of scenic investiture being out of the question, a frankly conventional stage setting has been devised for the plays. By the use of properties, and especially by the use of hghts, the stage setting, it is hoped, will afford an artistic frame for the actors in their varied, and as nearly as possible accurate, stage costumes. A departure from tradition has been made in Nice Wanton in not assigning the women's parts to male actors. In view of the inevitable suggestion of comedy to a modern audience in this practice, it has been thought better to conform to the spirit of the play rather than to the letter of tradition. /7r SPONSUS [Circa 1 125] Of the four short dramatic pieces produced tonight, representing the main eras and the important types in the preparation for Shakspere, the chief emphasis of the program is laid upon the Spoiisus iiccause of its unique character. The authoritative text of the Sponsus is that of Cloetta, published in Romania, XXII, a loose paraphrase of which is printed below. In this ])araphrasc an attempt has been made, by varying meters, to reproduce in some measure the effect of the variation in the language of the original. Cloetta's te.xt is not accompanied by music, however, so that the version to be sung tonight is that printed by Coussemaker. Both the music and the words of Cousscmaker's text are included in tlie program on account of the rare quality of this specimen of Gregorian music, which is so adequate a vehicle for the i)oignant and dignified literary treat- ment of the Sponsus. Ur. Browne has written a note on the music. The Sponsus, though ascribed by Coussemaker and other early editors to the eleventh century, seems rather to belong to the great intellectual renascence of the first half of the twelfth century. It has been chosen for this occasion because it has been regarded by Gaston Paris and other authorities as the gem of the liturgical drama of the 'Middle Ages. It is not dramatic in the modern sense of the word, however, but depends for its effect upon the situation and the lyrical tone. THE BRIDEGROOM OK THE WISE AND FOOLISH VIRGINS Full Choir: The Bridegroom comes, the Christ; O virgins, heed! The hour is nigh, the Bridegroom is at hand, And hope beats in the heart of all the world. Your chains shall fall, O people, ye who once By Eve were subject made to Death and Hell. The Second Adam will remove the curse Which the First Adam on his children laid. With the last sigh Christ on the cross exhaled, Satan, defeated, gave his conquest up. The way to Paradise lies open now. Behold the Christ, the victim innocent. Who by his death has washed your sins away. The Bridegroom comes, the Christ; virgins, heed! Gabriel: Listen, ye maids; give ear to what I say; Keep in your hearts the words I speak today: A Bridegroom ye await, your Savior aye; Let him not find you sleeping! The Bridegroom comes, for whom ye watch are keeping. 1C66678 He came to earth and for-your sins he died; In Bethlehem born of Virgin sanctified, In Jordan stream, though sinless, purified, Let him not find you sleeping! The Bridegroom comes, for whom ye watch are keeping. Beaten he was, and mocked, and spit upon. Nailed to the cross with great derision, And laid in tomb for Death to feed upon. Let him not find you sleeping! The Bridegroom comes, for whom ye watch are keeping. He rose again, as prophets old foreknew; I Gabriel am, who bring the word to you; Await the Lord; he soon will come to you. Let him not find you sleeping ! The Bridegroom comes, for whom ye watch are keeping A pause. [The Foolish Virgins sleep and spill their oil.] The Foolish Virgins: We maidens who come humbly here Our oil have lost through lack of care; Of your great plenty, sisters dear, Give us, we pray, a little share. Sad, sad are we; alas, too long we slept! Companions are we, sisters dear; Long have we trod the self-same way. Though we have met misfortune here. Yet can ye help, without denay. Sad, sad are we; alas, too long we slept! Give us some oU from your full store; Deny us not, unfortunate; Send us not empty from your door; Send us not hopeless from your gate. Sad, sad are we; alas, too long we slept! The Wise Virgins: Cease, sisters, cease your urgent praj^ers to us. We cannot grant you what you ask of us. The oil we have is scarce enough for us. Sad, sad are ye; alas, too long ye slept! But go ye now, and go ye hastily; Seek ye the oil-sellers and seek them presently; Oil will they sell you that your lamps may burn, To greet the Bridegroom at his glad return. Sad, sad are ye; alas, too long ye slept! The Foolish Virgins: Alas, we hopeless ones, what shall we do ? Our oil is lost, our lamps are darkened too. No hope have we the Bridegroom "s face to see; Banished from light and joy, banished are we. Sad, sad are we; alas, loo long we slept! [To the Oil Merchants] O merchants, merchants, here wc come in haste; Through negligence our oil has gone to waste. Sell us some oil that we our lamps maj- light. To greet the Bridegroom when he comes tonight. Sad, sad are we; alas, too long we slept! The IMkrciiants: Damsels, away! No help ye find in us; Our oil we sold long ere you came to us. No oil have we, though ye much gold would jiay, To greet the Bridegroom when he comes today. Sad, sad are ye; alas, too long ye slept! To your dear sisters take your sorrowing way; Tell them your need, and their assistance pray. They, only they, can give you help today. They only, fill your lamps, your fears allay. Sad, sad are ye; alas, too long ye slept! The Foolish Virgins: Ah, hopeless ones, to whom now shall we go ? No one, we find, will help us in our woe! Fated to perish for our little sin, The Bridegroom's doors we ne'er shall enter in. Sad, sad are we; alas, too long we slept! [The bridal procession comes and is joined by the Wise Virgins. The Foolish Virgins appeal to the Bridegroom.] Hearken, O Bridegroom, to us importunate! Open the door to us, maidens unfortunate; Let us come in with our sisters more fortunate! The Bridegroom: Amen, dico, vos ignosco, nam carclis luminc; Quod qui perdunt procul pergunt hujus aulac limine. Hence, careless ones, who could not watch one hour: Forever banished from the Bridc.^roonr.'s bower. To hell ye go, into the devil's power! [Then the devils seize them and cast them into hell.] SPONSUS Prudentes J. W. Barney J. Belisle N. Gerber E. McNulty E. Phillipi Gabriel Herbert B. Gould Singers J. Lewis Browne, Director Fatiiae J. Flannery R. Gerber W. Murray Snowhook Winters Chorus H. Brown W. Hafner C. Krebs J. Murray Mcrcatores J. Daly Brother Gregory G.J. Kent W. M. Kent Christus Earl Le Febvre T. Nolan A. Quinn A. Schneider S. Szwarski NOTE ON THE MUSIC In transcribing the neumes of the "Sponsus" into modern notation, the Editor has adhered rather to the Solesmes method than to that of the Ratisbon. Those familiar with Gregorian will, of course, find no difficulty in giving to the melodies their proper expression. To the inexperienced it may be helpful to mention that Chant does not possess time-values as in Modern music. (For instance, J^ is not necessarily the equivalent of J.) The melodies are whoUy governed as regards time and rhythm by the accents and quantity of the text. Still, the way is tolerably clear. If the lines be first declaimed, measuredly, and with correct accent, without the chant, then will the rhythm of the melodies become apparent. These melodies should be transposed to accord with the best eSect to be obtained from the singers at command, and to the end that suit- able contrasts may ensue. As to accompaniment, while Chant must never be sung otherwise than in unison, the organ might be used to supply strictly diatonic harmonies constructed according to the laws of Modal counterpoint. The action and mise en scene of this liturgical play of the eleventh century is well set out in "L'Epoux" to be found in "Le Drame Chretien au Moyen Age" by JMarius Sepet. (Paris: Didier et Cie., 1878.) Sepet's stage directions, while given for his own (Sepet's) paraphrase, and which are therefore more fanciful than of tradi- tion, would be appropriate in presenting the drama under notice, although the introduction to E. de Coussemaker's ''Drames Liturgiques du Aloyen Age" (Paris: Didron, 1851), from which the present edition of the "Sponsus" has been taken, must always be the guide to these remarkable old musical plays. The text of the "Sponsus" is a mixture of Ecclesiastical Latin and French and its orthography differs from that of present day use. But it has been deemed advisable to follow the original in all particulars. J. L. B. Chicago, January, 19 16 * Les Vierg'es Sag-es Et Les Vierg'es Folles Liturg'ical play of the Twelfth Century Done into modern notation and edited by J. LEWIS BROWNE Chorus * s i' ^ -^^ fe^ ^ A - dest spon - sus qui est Chri - stus: vi - g\ il> Jj E la - te, vir - tri nes. Pro ad * JU^4 ^5 I' J' ii J' ven - tu e - jus gau-dent et gau - de-bunt ho - mi - nes. ^ ^ ^^ ^^ £ Ve - nit li - be - ra - re gen - ti - um # ^^ ri - gi - nes, Quas per on - mam $ -^-^h-h l> J' h J) #^ si - bi ma - trem sub - ju - ga - runt de - mo nes. ^ ~ «l< S ^Ete^ N^ Hie est a - dam, qui se - cun - dus per pro te ^^ E 1 phe - ta di - ci - tur. Per quem see - lus - ^> ^ ^^r^ fc J' Ji J ^T ' ^ S pri - mi a - de a no - bis de - lu - i - * Produced at the University of Chicago, February 25*.", 1916 G.H.M.Co. 58-13-2 Copyright, MCMXVI,by The Gilbert Music Co.,Chicago,Ill. tur. * ^ * m : Hie pe ^ pen - dit, J^ J. 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Do len - - tas! Chai . ^S ^ t^ ^^E vas! Trop i a - vem dor - mit. G.M.Co. 58-13-10 (Prudentes:) h- J' J -I ^ ^ i £ De nos tr'o - i - Jki r-. ^f^if ¥ ^ ■ m que - ret nos do ner, $ fF^ i ^1 No'n au ret pont; a ^ S^5 £ ^ let en a - chap ter De - us mer- chaans 4^ J' j^ que lai ve et ter. Do - ^^ J ' i J J J J J J J F^=S len . tas! Chai ti - - vas! Trop i ^ ^5 a - vet dor - mit. Mercatores: j.b J J J i' J'^Ti ji ri^ ^i Dom nas gen - tils, no vos CO 4^ J' J ^^ 5fe^ vent es - G.M. Co. 58-13-11 ter, Ni lo - ja - men ^ -de - mo - rer. ^^ ? Co - sel que - ret non vos po - * ^^ em do - ner; Que- * fe^^^^^^i * d ret lo deu chi vos pot co - so ler. # ^SE^ J' J J J- let a - reir a vos - ^fe 5 tras saje so ros, pre - iat S i lab per Deu lo g-lo - ri ^^ De o - Ic - o fa - sen so cors a vos; Fai 1. ji ji jT I ;i ;i > ji tes o tost, G.M.C'o. 58-13-12 que ja ven - ra les - pos. (Fiituae:) s ^^feS Ah! mi ■ se - re! no.s ad quid ve fel' ^ 71 JO' rr] ji ^ - mus? . Nil est e - nim. il - luc 5fe^ quod que - ri - mus. Fa ta - turn ^ est, et nos - de - bi - mus. ^^^^^^5 Ad imp - ti - as num-quam in - tra bi - t' ;' j^ J' J ^^ m Trop i dor mit. Audi, sponse, voces plangeiitium Aperire fac nobis ostium Cum sociis; praebe remedium. (Modo veniat sponsus.) Cliristiis : Amen dico, Vos ignosco; Nam caretis lumine; Quod qui pergunt, Procul pergunt Hujus aula limine. Alet chaitivas! alet malaureas! A tot jors mais vos so penas livreas : En enfern ora seret meneias. G.M. Co. 58-13-13 (Modo accipiant eas dmno-iies et pTecipitentur in ivff:rnu7n,.) THE SECOND SHEPHERDS' PLAY [Circa 1450] " The Second Shepherds' Play " of the Towneley or Wakefield cycle of mystery plays was probably wTitten about 1450. It is a masterpiece in the second great dramatic movement of the Middle Ages, the nationalization and expansion of the liturgical play. Latin now gave place to the native language, the plays passed into the hands of laymen, and cycles of plays covering much of the Bible story were developed for presentation by trade-guilds at the summer festivals. In this play there is a striking and characteristic use of comic material introduced as a concession to the popular taste. Mak, the sheep-stealer, visiting the shepherds in the fields, is forced to sleep between them for the safety of the sheep. But Mak slips away while the others sleep, steals a sheep, delivers it to his wife, and returns to the shepherds in time to be found in his place the next morning. The suspicious shepherds visit and search Mak's house, but he and his wife, having swaddled the sheep and covered it over in the cradle, pass it off for a newborn child. When one of the shepherds, remorseful over his unjust suspicions of Mak, returns to leave a piece of money as an offering to the infant, the trick is discovered and Mak is tossed in a blanket. Startling as this episode is, there is a nice correspondence between the bal- ancing parts of the two cradle scenes. In the dramatic completeness of the comic plot, and in the characteristic mediaeval contrast between the rugged satire and rough humor of the comic scenes, and the lofty spirit of the annunciation of Christ's birth by the angels and the adoration of the shepherds, the structure of the play is finely perfected. No attempt was made in the old days to achieve either local or stage illusion. The shepherds, suffering from EngUsh climatic and economic conditions, were in EngUsh costumes. The interpretation of the manger scene has been borrowed from ecclesiastical painting. The appropriate songs were found in Chappell's Old EngUsh Popular Music. THE SECOND SHEPHERDS' PLAY Dramatis Personae Primus Pastor Dunlap Cameron Clark Secundus Pastor Frank Richardson Wood Tertius Pastor Emmer Da\is Edwards ^iAK James Douglas Dyrenforth Uxor Eius John WeUs Banister Angelus Clarence Alexander Brodie Maria Phoebe Bell Terrv NICE WANTON [Circa 1550] • Nice Wanton was printed in 1560, but there are indications within the play that it was written during the reign of King Edward VI. The period chosen for this production is the early part of his reign when costumes were still much like those made familiar in the drawings and paintings of Hans Holbein. The little tragedy may have been produced in a public square or in a school hall. Indeed, Nice Wanton is a type of school play with touches of the morality in the char- acters of Worldly Shame and Iniquity, the Vice. The play tells the story of Xantippe's children; the studious Barnabas and the reckless Ishmaeland the foohsh, spoiled Delila. Barnabas, eager for learning and conscious of its power, warns his brother and sister against truancy. A neighbor, Eulalia, advises Xantippe of the increasingly evil ways of her wayward children. They fall under the spell of Iniquity and soon advance, each in his own way, on the road to destruction. The second part displays the tragic outcome. Delila, miserable in poverty and disease, is rescued by the prosperous and kindly Barnabas who recognizes his sister in spite of rags and disfigurement. Before Daniel, the judge, a desperate burglar and murderer — none other than Ishmael — is tried and condemned to the gallows. Worldly Shame then seizes Xantippe and enforces the lesson of her responsibility for the hanging of Ishmael and the pitiful death of Delila. Her attempt to stab herself is frustrated by Barnabas, who closes the play with a warning to all parents and children. NICE WANTON Dramatis Personae Prologue, A Messenger Howard Mumford Jones Barnabas Samuel Greene Arnold Rogers Delila Eleanor Dougherty Ishmael James Currey Hemphill • EuLALU. Clara Josephine Kretzinger Xantippe Louise Mick Iniquity Sol Harrison Daniel, the Judge Howard Mumford Jones Baillie Errand Fred Eugene Rankin Worldly Shame Charles Breasted "THE WOOING OF NAN" AN ELIZABETHAN JIG [Circa 1590] ''The Wooing of Nan" occurs, wilhout title, in a manuscript across which the name of INIarlowe is written. It is usually printed with Marlowe's works under the title "A Dialogue in Verse," but its authorship is uncertain. The piece probably belongs to the period 1 590-1600. A jig was the favorite Elizabethan afterpiece, and was expected by popular audiences even after the greatest tragedies of Shakspere's day. It was sung, danced, and acted dramatically at the same time. The jig is an interesting dramatic form from two points of view. First, by the sixteenth century the tv-pes of religious drama represented in the preceding part of the program began to give way to secular themes found in the song dramas of the people and in the short farces, or comic interludes, of the regular stage. The jig, which became popular late in the century, absorbed the wooing scenes of the folk drama and the intrigue plots of farce, and seems to have influenced definitely the comic scenes of Shakspere and his fellow-dramatists. In the second place, until recently it has been declared that no specimen of the jig was extant. Professor Baskervill has evidence, however, that a number of such dialogues as "The Wooing of Nan" were jigs, and this evening for the first time in perhaps two hundred years an attempt is made to reproduce an Elizabethan jig. In this reconstruction of the lost art of the jig the dances have been arranged in accordance with Elizabethan descriptions of jigs and popular dances. One traditional form of the morris jig is included. The dialogue is sung to appropriate Elizabethan jig music that has survived, and one of the tunes is a form of the air to "Roland," perhaps the first famous Elizabethan jig. THE WOOING OF NAN Dramatis Personae Jack Ralph Salisbury Friend Lander MacCUntock Dick Rex W. Reeve Pierce Kimbal Root Gentleman Paul MacClintock Fool Karl E. Anthony Nan James C. Crandall Fiddler J. Beach Cragun Piper Jules Avner Drummer R. B. Whitehead THE WOOING OF NAN [Adapted] Jack: Seest thou not yon farmer's son ? He hath stolen my love from me, alas! What shall I do ? I am undone; My heart will ne'er be as it was. Oh, but he gives her gay gold rings, And tufted gloves for holiday. And many other goodly things, That hath stolen my love away. Friend: Let him give her gay gold rings Or tufted gloves, were they ne'er so gay; Or were her lovers lords or kings, They should not carr>' the maid away. Jack: But a' dances wonders well. And with his dances stole her love from me: Yet she wont to say I bore the bell For dancing and for courtesy. Dick: Fie, lusty younker, what do you here. Not dancing on the green today ? For Pierce, the farmer's son, I fear. Is like to carry your love away. Jack: Good Dick, bid them all come hither And tell Pierce from me beside. That if he think to have the maid, Here he stands shall bear away the bride. Dick: Fie, Nan, why use your old lover so, For any other new-come guest? Thou long time his love did know; Why shouldst thou not use him best ? Nan: Bonny Dick, I will not forsake My bonny Rowland for any gold : If he can dance as well as Pierce, He shall have my heart in hold. Pierce: Why, then, my hearts, let's to this gear; And by dancing I may won My Nan, whose love I hold so dear As any realm imder the sun. [Jack and Pierce compete in dancing.] Gentleman: Dick: Gentleman: Nan: Dick: Fool: Nan: Gentleman: Xan: Gentleman: Then, gontlcs, cro I speed from hence. 1 will be so bold to dance A turn or two without offense; For, as I saw walking along by chance. 1 was told that you did agree Who dances best wins this lady, 'Tis true, good sir; and this is she Hopes your worship comes not to crave her; For she hath lovers two or three, And he that dances best must have her. How say you, sweet, will you dance with me ? And you shall have both land and hill; My love shall want nor gold nor fee. I thank you, sir, for your good will. But one of these my love must be; I'm but a homely country maid. And far unfit for your degree; To dance with you I am afraid. Take her. good sir, by the hand, As she is fairest; were she fairer. By this dance you shall understand. He that can win her is like to wear her. [Gentleman and Nan dance together.] And saw you not my Nan today. My mother's maid have you not seen ? My pretty Nan is gone away To seek her love upon the green. I cannot see her 'mong so many; She shall have me, if she have any. W elcome, sweetheart, and welcome here, Welcome, my true love, now to me. This is my love and my darling dear, And that my husband soon must be. And, boy, when thou com'st home, thou'lt see Thou art as welcome home as he. [Nan and the Fool dance together.] How now, sweet Nan! I hope you jest. No, by my troth, I love the fool best; And if you be jealous, God give you goodnight! I fear me to trust one who capers so light. I wish all my friends by me to take heed. That a fool come not near you when you mean to speed. [Dance.] University of California SOUTHERN REGIONAL LIBRARY FACILITY 405 Hllgard Avenue, Los Angeles, CA 90024-1388 Return this material to tfie library from wliicli It was borrowed. Form L9-50; LOS ANiilSLEiJ Stockton, Cod'f.